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PHOTOPLAYS 


BY 


THOMAS SAWYER SPIVEY 

\\ 


Author of “Lavius Egyptus,” in Two Volumes, a Philosophic Discourse; 
“The Hoosier Widow,” a Novel; “The Caverns of Crail,” 
a Novel; “Dr. Paul McKim,” and Numerous Other 
Works of Fiction. 

Motion-picture and all other dramatic rights 
offered for sale by the 


SCENARIO SUPPLY CORPORATION 

440 Fourth Avenue, New York 


Ta! m*7 
,Sl s~ 




Copyright, 1924, by 
Thomas Sawyeb Spivey 


CONTENTS 


Page: 

The Caverns of Crail . 7 

The Charm of Ballyhack . 33 

The Hercroft Mystery . 49 

Chocolate Charlie . 75 

The Dummy Necklace . 97 

Making A Movie Star of Mother . 117 

Love and the Law . 127 

The Brand of Cain . I 55 

Passing Through Purgatory . 191 

Invisible Jim . 223 

Jim is Drunk Again ... 235 

The Tale of a Red Shirt . 255 

The Copper Queen . 277 

The Claim Jumpers . 339 





















PRINCIPAL CHARACTERS 

Cyaxares, Male Lead .Son of the Deposed King of Iran 

Phraortes, His Father .The Throneless King 

Deioces, the Upstart .King of the Medes 

Cambyses .Guard of Cyaxares 

The Sapor .King of Kings, Ruler of the Holy 

• £. v Crater 

Cracileies .,Head of the Priests of Crail 

Saeuciea, Female Lead .Accredited Mistress of Deioces 

Madrieea .Daughter of the Sapor 

Saranaces ..A Priest of Crail, Saluciea’s Bro¬ 

ther 

Scaea .A Dancer Beloved of Cambyses 

Zinkara .A Spy 

Astyages .King of Persis 

Priests of Crail, Soldiers, Courtiers, 

Dancers, Debauchees, 
etc., etc. 

SYNOPSIS 

The Medes and Persians were about to engage in their first war,— 
another Holy War,—and these were the causes that led up to it, 
these also the results: 

Young Cyaxares, son of the throneless King Phraortes of Ironia, 
had grown to manhood with but one compelling purpose in life: to 
bring to destruction the usurper who had violated his father’s trust 
when he, Cyaxares, was but an infant. This upstart usurper Deioces, 
once Captain of the Guard of Phraortes, had been left in charge 
of the young Cyaxares at the time that the old King had been forced 
to flee temporarily from Baleria. However, Cracillies, Head of the 
Mysterious Priesthood of Crail, with the aid of a young noble of 
the Guard, Cambyses, had spirited the young prince away to the 
sacred precincts of the Caverns of Crail. 

9 














10 


PHOTOPLAYS 


Cyaxares, grown to manhood, comes to the capital of Ironia, 
Baleria, now the seat of rule of the licentious Deioces (who had 
turned the old city Baleria into the fairest and foulest of capitals), 
in order to commence his campaign for the restoration of the throne 
and three trusted companions,—all disguised in the garb of the 
to his father. Accompanied by his faithful bodyguard, Cambyses, 
priests of Crail,—Cyaxares comes into the royal city of Deioces. 
Fortune favors his enterprise, for just previous to his coming ban¬ 
dits have taken the caravan of the daughter of the Sapor (that 
mysterious and all-powerful King of Kings) as she was journeying 
home; and Deioces, hearing of the extreme beauty of the brigands’ 
captive, who, by the way, has withheld her identity, buys the young 
princess for his pleasure. Thanks, however, to the merciful officer 
of Saluciea (the reputed mistress of Deioces), Madrilla (the Prin¬ 
cess captured) is unpolluted by the monarch. For Saluciea has 
learned the identity of Madrilla, and she has told her ambitious 
brother Saranaces,—(priest of Crail) that if Madrilla should be 
harmed there would not be sufficient heads in Ironia to pay the 
penalty that the Sapor would exact. Saranaces, therefore, has Ma¬ 
drilla carried in safety to Cracillies at the rendezvous of the Priests 
of Crail in Baleria. 

At a conference between Cyaxares, Cracillies, Cambyses, and Sar¬ 
anaces, at which conference Cyaxares unfolds his plans for the 
deposition of Deioces, it is agreed that Cyaxares shall take advan¬ 
tage of the fete of the priesthood in Baleria (on which occasion 
everyone is given over to masquerade and debauchery), in order to 
get Madrilla out of the city. The plan fails, however, for in the 
madness of the whirlpool of debauchery, Madrilla is swept from the 
side of Cyaxares as he and his companions are attempting to get 
her beyond danger. He is suddenly assailed by Scala, a nearly 
nude dancing girl, who throws herself into his arms. Whereupon, 
he snatches her up, takes her to a veranda, and places her in a 
swing. As he does so, Saluciea enters the latticed enclosure from 
the interior of the house, and with eyes that seemed suddenly awak¬ 
ened to a new sense of the beauty of manhood and of life, she gazes 
smilingly upon Cyaxares, whom she addresses by name. Scala then 
tells Cyaxares that she and Cambyses love each other, and implores 
Cyaxares to return to the house that night and bring Cambyses with 
him. Fearing a trap, Cyaxares hesitates, but when Saluciea tells 
him that she is the sister of Saranaces, Priest of Crail, he agrees, 



PHOTOPLAYS 


ii 


coming back with his faithful body-guard Cambyses to feast with 
the two women. In the midst of their merriment, Saluciea all at 
once breaks down, confessing to Cyaxares that she had been the tool 
of her ambitious brother Saranaces, who is a traitor, the tool of 
Deioces, and that she had lured him and Cambyses to this house in 
order that he might be betrayed into the hands of the upstart king, 
who had been informed by Saranaces of Cyaxares’ presence and pur¬ 
pose in Baleria. Her heart has gone out to him, and she feels that 
the only way in which she can atone for her wrong to him is to die.- 
Whereupon she drinks some potent poison that she always carries 
about with her, and falls at his feet. Scala has fainted at the sight, 
and is carried away by Cambyses; while Cyaxares, clasping the still 
form of Saluciea in his arms, swears that her death for his sake shall 
be avenged, for he loves her, too; for she has convinced him that, de¬ 
spite rumor, she is unpolluted by the touch of Deioces. 

Armed with credentials to Astyages, King of Persis, Cyaxares 
goes to his court, and later to the court of the Sapor, telling of the 
outrage that had been committed against the alliance by attempted 
violation of Madrilla at the hands of Deioces. The Sapor calls out 
the clans of the City of Kings. In the assembling of the allies that 
are to destroy Deioces, Cyaxares is entertained at the palace of old 
King Nahan, where he is dumbfounded to find himself in the pres¬ 
ence of the supposedly dead Saluciea. Here he learns that she is 
the daughter of Nathan. After a declaration of love to her, Cyax¬ 
ares goes to war as a great commander. Among the officers attached 
to his person is young Prince Hanan, who brings credentials as a 
son of King Nahan, and this young Prince, in the thick of battle upon 
the plains of Aspahan, saves the life of Cyaxares as he is attacked 
by soldiers of the legions of Deioces, slashing through the face the 
most formidable of the attackers, who falls dead. It is Saranaces, 
brother of Saluciea. As Prince Hanan sees whom he has killed, 
he falls fainting in the arms of Cambyses, who has come to the res¬ 
cue of his beloved Cyaxares, who lies wounded as if to death. 
With one look at his burden, Cambyses gasps: “Saluciea.” 

The day is won, of course, by the allied armies of the Sapor and 
Astyages, and the battle upon the Plains of Aspahan results in the 
restoration of the throne to Phraortes. When, however, the old 
king wishes to abdicate in favor of his son, Cyaxares, the successor 
of the old Sapor, who has died, sends a missive to Phraortes deny¬ 
ing him the right to abdicate. It later transpires that Cyaxares, to 



12 


PHOTOPLAYS 


whom is due the fact that Deioces and his city of sin have been an¬ 
nihilated, has been appointed Sapor, King of Kings. And his con¬ 
sort? Who other than Saluciea, who as a man had stood over him 
in battle, slaying men (who had slain even her brother, the false 
priest Saranaces) for his sake. 



PHOTOPLAYS 


13 


Leader 


Scene i 


Close up 


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CONTINUITY 

When good King Phraortes of Iran left his infant 
son Cyaxares in the care of his Captain of the Guard* 
Deioces, he did not know that on his return to the 
capital he would find that his throne had been usurped 
that Deioces had had himself proclaimed King of the 
Medes, and that the little prince had been spirited away 
by the head of the mysterious priesthood of Crail, 
Cracillies, with the aid of a young noble of the guard» 
Cambyses, both devoted adherents of the throneless 
king. Cyaxares reached manhood with one absorbing 
purpose in life,—to dethrone Deioces, betrayer and 
upstart. 

Exterior. Promontory overlooking the plains of 
Ironia, in the fair bosom of which languorously rests 
Baleria, the capital of Deioces, while far in the distance 
may be caught a gleam of the Persian Gulf. Open 

DIAPHRAGM SLOWLY TO SHOW. 

Cyaxares, bareheaded and enshrouded in an ample 
cloak, beneath which can be glimpsed the glint of 
armor, stands before a thicket of scrub cedars, 
evidently to shield himself from spying eyes. A scowl 
darkens his brow. He whistles, and from the shrub¬ 
bery behind him Cambyses and three other men emerge, 
and approach him. All the men wear enshrouding 
cloaks; one bears in his hand his chieftain’s plumed 
helmet, the other his sword, and the third a roll of 
parchment. Cambyses takes the roll from the bearer, 
and places it in the hand of Cyaxares. There is an 
easy familiarity between these two leaders. Laying 
his hand upon the arm of Cambyses, Cyaxares speaks 

“Look Cambyses! Fair Baleria and her ruler 
Deioces are a menace to the morality of all the world. 
But their end is near. Come, let us don the priestly 
robes that Cracillies has sent to us; they will let us 
pass unchallenged,—for will we not be thought priests 
of Crail! Let us go down into Baleria.” 



14 


PHOTOPLAYS 


Scene 2 


Cut in 


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Scene 3 


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Cyaxares, Cambyses, and the other three men with¬ 
draw into the shrubbery, whence they soon emerge 
disguised, and set out down the mountain road. 

Interior. Room in the Palace of Deioces. 

Madrilla in. Deioces enters, approaches her with 
amorous pleadings; attempts to embrace her; she 
shrinks from him; he speaks 

“When I buy a beautiful unknown from brigands 
who have robbed her caravan I always despoil her.” 

Madrilla draws herself up threateningly, announc¬ 
ing haughtily: 

“Then I shall no longer remain unknown. Know, 
then, that I am Madrilla, daughter of the Sapor, King 
of Kings.” 

Deioces laughs derisively, and is moving toward Ma¬ 
drilla when Saluciea enters, who says: 

“I have heard, Deioces. Would you have the Medes 
swept from the earth? Should the daughter of the 
Sapor be harmed, there would not be enough heads in 
Ironia to pay the penalty.” 

Deioces argues; then, as if called to his senses, he 
goes out, leaving Saluciea and Madrilla together 
Saranaces enters. They confer. Fade out. 

Exterior. Street in Baleria, showing nearby foun¬ 
tain. 

Cyaxares and Cambyses in, disguised in priestly 
robes; their three guards, also in robes, behind them. 
Cyaxares and Cambyses stand deliberating before the 
fountain. Two of Deioces’ guards approach and chal¬ 
lenge Cyaxares. One of the guardsmen speaks 

“Uncover, and show your faces.” 

Cambyses slips his hand beneath his robe as if to 
draw a weapon, when a stranger in the habit of a priest 
of Crail steps up, lifts his cowl from his head, and 
shows the face of Saranaces. Saranaces speaks to 
guard 



PHOTOPLAYS 


15 


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Scene 4 


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“Since when have you been given authority to chal¬ 
lenge the priests of Crail in the streets of Baleria?” 

As Saranaces speaks, he turns to Cyaxares; but the 
guard of the Medean king raises his mace to strike 
down the priest, whereupon the followers of Cyaxares, 
led by Cambyses, fall upon him, and in a moment the 
guard lies prone upon the pavement. Saranaces then 
turns again to Cyaxares, and bidding him and Cam¬ 
byses follow, walks away. Cut to 

Interior. Room in the rendezvous of the Priests of 
Crail when in Baleria. 

Enter Cyaxares, Cambyses, and Saranaces. As they 
come in, through a side door enters Cracillies, accom¬ 
panied by another priest, who remains in the shadowy 
background. Cracillies puts his hands on the shoulders 
of Cyaxares, saying: 

“Welcome, Prince Cyaxares. Your cause is just. 
You will make as great and good a king as your father. 
Besides, a miracle has strengthened your cause. The 
daughter of the Sapor, whom Deioces would have de¬ 
famed, has been put into my care, thanks to the good 
offices of Saluciea. Madrilla is now concealed in this 
very house, and it only remains for a messenger to 
carry the truth to the King of Kings.” 

Cyaxares, who had taken a seat, springs to his feet, 
crying: 

“It would mean death to the messenger who con¬ 
veyed the truth to the King of Kings.” 

Cracillies smiles as he says: 

“Not if that messenger were Prince Cyaxares.” 

Cyaxares registers intense eagerness, exclaiming: 

“We must first get the Princess Madrilla within the 
protecting embrace of the caverns, then I will at once 
set out upon my mission. In whose care is she now ?” 



PHOTOPLAYS 


16 


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Scene: 5 


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Scene 6 


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Cracillies goes toward the priest, who all this time 
had stood waiting in the shadow, and leads him 
forward, presenting him to Cyaxares and Cambyses. 
Cracillies speaks 

“He alone, besides ourselves, knows the secret of 
her whereabouts, and he has all the keys of this house/’ 

Cracillies, in speaking, draws back the cowl from 
the priest’s face, which is revealed in the full light. In¬ 
stantly Cambyses bounds forward toward the priest, 
saying: 

“This is no priest! He is Zinkara, the most cunning 
of all Deioces’ spies. I know, for I remember one 
night, when I went to see my Scala at the mountain 
house of Regules....” 

As Cambyses is speaking Fade out and into 

Interior. The house of Regules, a mountain re¬ 
sort. 1 ables about at which men are drinking wine. 

Cambyses and Scala (daughter of Regules) in. 
Love passage between the two. Enter Regules and 
Zinkara, who sit at a table a little apart from the 
lovers and talk confidentially. Scala, leaning close to 
Cambyses, and pointing to the man with her father 
whispers: 

“Mark well that face. He is Zinkara, chief of 
Deioces’ spies.” 

Cambyses heeds Scala’s words, and carefully studies 
the face of Zinkara, who is absorbed in talk with the 
inkeeper. Fade out and into 

Interior. Same as Scene 4. 

Cambyses finishes his story. All the while he has 
been detaining Zinkara by firmly grasping him by the 
arm; but suddenly the spy wrenches himself free, darts 
through the door, which he fastens between himself 
and those in the room. Consternation; Cambyses 
speaks 

Hasten after him or we will find Madrilla gone.” 



PHOTOPLAYS 


1 7 


Scene 7 


Scene 8 


Scene 9 


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Cracillies and Cambyses go out hurriedly. 

Exterior. Street near the palace of Deioces. A 
stone wall containing a gate in the near distance, 
shrubbery surrounding a corner of the wall. 

Enter two men, carrying Madrilla. In the shrubbery 
may be seen Cyaxares and Saranaces, who watch the 
gate, through which they see the men vanish with 
Madrilla. At length Zinkara skulks along the wall, 
and is about to enter the gate, when Cyaxares and 
Saranaces pounce upon the spy, muffle him, and carry 
him off. 

Interior. Dungeon in the rendezvous of the priests 
of Crail. 

Enter Cyaxares and Saranaces with the bound Zin¬ 
kara, whom they release from his gag and bonds, and 
leave within the dungeon. 

Interior. Same as Scene 4 

Cyaxares pacing the floor in great impatience, as 
if determining some course of action. Saranaces, 
Cambyses, and Cracillies in. Cyazares speaks 

“I have in my possession a letter from the King 
of Persis to Phraortes, my father ; it bears the seal of 
King Astyages.” 

Cyaxares calls for writing materials, sits down, and 
begins to write. When finished, he takes from his 
pouch a parchment from which he detaches a seal, 
which he places upon his own writing, then he shows 
the parchment to the others. Cracillies speaks 

“But this is madness, Cyaxares. It means death 
to you.” 

Cyaxares smiles haughtily, throws off his priest’s 
robe, and stands, a warlike figure, in his coat of mail; 
then says: 

“Within the hour I shall be within the palace of 
King Deioces. Cambyses and his men go with me, 
disguised as priests of Crail.” 



i8 


PHOTOPLAYS 


Scene io 


Cut in 


Cut in 


Cut in 


Scene ii 


Followed by Cambyses, Cyaxares leaves the room 
as Diapraghm ceoses. 

Exterior. Night. The bronze gates of the palace 
of Deioces. The great gates are open, and long rows 
of fantastic lanterns and sputtering flambeaux make 
the place as bright as day. 

Cyaxares, in armor, followed by Cambyses and two 
others disguised as priests, approaches the guard at 
the gate,—already in,—draws a parchment from his 
pouch, exhibits the seal of Astyages, and speaks 

“I am the bearer of an urgent message from King 
Astyages to King Deioces. Twenty thousand warriors 
of Persis await the reply of this message.” 

The Captain of the Guard looks dubiously at Cyax¬ 
ares, then at the robed figures behind him, asking: 

“How am I to know that you are what you represent 
yourself to be?” 

Cyaxares draws his short sword and strikes the 
guard a smart blow across the shoulder with the 
flat side, saying: 

“That for your insolence!” 

Cowed by the kingly bearing of Cyaxares, the guard 
passes him and his retinue. Cut to 

Interior. Audience chamber of King Deioces. 

Deioces in, seated in a huge chair, supported by 
many cushions, while in his hand he holds a delicate 
fan, with which his fingers nervously toy. In plain 
words, the upstart king is drunk. Enter Cyaxares and 
Deioces, shown in by the Chamberlain. Without 
waiting for the observance of court etiquette, Deioces 
demands of Cyaxares: 

“The message!” 

The Chamberlain takes the message from Cyaxares’ 
hand, and hands the parchment to Deioces, who reads 


Cut in 



PHOTOPLAYS 


19 


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Letter 


Cut in 


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Sub-title 


On demand, surrender to the bearer the Daughter 
of the Sapor, as chaste as when you received her, and 
return my messenger unharmed or by the eternal gods, 
all the clans of the Holy Crater and of my domains 
will come to sweep you from the earth. 

Astyages. 

Deioces, the reading finished, shakes as with a name¬ 
less fear; then he braces himself, half springs from 
his seat and screams: 

“It’s a brazen lie! The wench is not in my palace.” 

Deioces rises as if to end the interview. But 
Cyaxares detains him with: 

“The Princess Madrilla has been brought into the 
palace without your Majesty’s knowledge. Command 
your servants to produce her.” 

Deioces draws his lace sleeve across his mouth, then 
he turns to the Chamberlain, and roars: 

“Is the Princess Madrilla here?” 

The Chamberlain bows in assent. Then Deioces 
turns to Cyaxares, saying: 

“Madrilla will be placed in your care.” 

A moment or two passes, while the Chamberlain 
goes out and returns with Madrilla, who throws her¬ 
self suppliantly at the feet of Cyaxares. Her heart 
is in her eyes. So may love humble the royal,—and 
it was love at first sight with Madrilla. Cyaxares lifts 
the Princess to her feet, and she looks at him as one 
might look at a god as the Diaphragm goes down and 
out. 


The Festival oe the Priests of Crail 

(note. The details of this festival are handled with 
absolute historical precision in Chapter IV of “The 
Caverns of Crail,” a novel by the author of this 
scenario, which novel is at the disposal of the producer 



20 


PHOTOPLAYS 


Scene 12 


Leader 


Scene 13 


and from that chapter the producer will be able to 
draw innumerable picturable episodes, as well as sen¬ 
sational scenes.) 

Exterior. The central thoroughfare of Baleria, 
showing the wild festivities of the Fete of the Priest¬ 
hood. All persons are in disguise,—the men clad in 
the robes of priests, the women, who swarm in the 
streets, clad in the filmiest of garments. Long lines 
of nymphlike creatures form on either side of a rope 
wrought of roses, then, at a given signal, dance madly 
down the street, along the sides of which are latticed 
•balconies. 

On this fete day every man is an amorous priest 
and every woman a willing temptress. It is beauty’s 
day. It is also the day that Cyaxares has wisely 
chosen for the conducting of Madrilla to the safe shel¬ 
ter of the Caverns of Crail. 

Cyaxares, with Madrilla clinging closely to his arm, 
—her face hidden by a scarf,—and Cambyses and 
Cracillies accompanying him, comes down the street, 
when suddenly he is surrounded by a whirling mass of 
demented humanity, and Madrilla is torn from his 
side, and he is also separated from the rest of his 
party. Instantly a circle of half-nude girls begin to 
dance about him, chief among whom is Scala. She 
throws herself into the arms of Cyaxares, whereupon 
he lifts her up, and runs with her up the few steps 
leading to a sheltering veranda, carrying her within the 
latticed enclosure. Dissolve into 

Interior. Veranda, rose-embowered and sensu¬ 
ously furnished, a hammock at one end. 

Enter Cyaxares, bearing Scala in his arms. He 
places her in the hammock. But the girl instantly 
rises, rushes to the lattice gate through which they 
had entered, and locks it. As she does so, Saluciea 
(queenly in her grandeur and, unlike the other women, 
fully clad in a court costume) comes in through a cur- 



PHOTOPLAYS 


21 


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Leader 


tained entrance at the rear of the veranda. Cyaxares 
registers enthralment at the beauty of Saluciea, who 
holds out her hand, saying: 

“The distinguished Prince Cyaxares is most wel¬ 
come to Baleria. But why does he come in disguise, 
fully accoutered ?” 

As Saluciea speaks she points to the coat of mail 
that shows through the opening in his priest’s robe. 
Cyaxares questions: 

“May I ask the name of the beautiful creature who 
thus addresses me?” 

Saluciea tells him who she is. He looks from one 
of the fair creatures to the other, saying, as he watches 
the face of Scala: 

“Had I my strong Cambyses here, I would be better 
able to deal with my fair enemies.” 

As Cyaxares utters the words, Scala bursts into 
tears, and throws herself into the arms of Saluciea, 
who in wonderment, asks: 

“Who is Cambyses ?” 

Scala does not reply and Saluciea turns to Cyaxares 
with questioning eyes. Cyaxares speaks 

“As Scala is your bosom friend, Cambyses is mine.” 

Saluciea, holding Scala’s face against her bosom, 
looks at Cyaxares, saying: 

“Promise me on your princely honor that you will 
bring Cambyses here to-night. I would see what 
manner of man it is who thus brings out Scala’s secret 
love for him.” 

Cyaxares hesitates, but Saluciea reassures him with 
carresses and with assurance of her friendship, and 
he pledges himself to return. Diaphragm down and 
out. 

A Few Hours Later. 



22 


PHOTOPLAYS 


Scene 14 


Cut in 


Cut in 


Scene 15 


Cut in 


Exterior. The Gardens of the Caverns of Crail. 
Mountain springs gush from the cliffs about, while 
long galleries stretch high above the gardens, along 
which priests are promenading arm in arm. 

Madrilla in. Enter Cyaxares. The young princess 
rushes to meet him, showing her gratitude for his 
having provided for her a place of security. Cyaxares 
speaks 

“To-morrow I seek the great King of Kings,whose 
daughter you are. I may never see you after you 
are returned to the mysterious Sapor, for I am but the 
son of a throneless king.” 

There is a fathomless depth of love in Madrilla’s 
eyes as she looks at Cyaxares and says: 

“I shall give you a message to the Sapor. You 
shall yet be King of Ironia.” 

As she speaks Cracillies appears in the distance, 
and Cyaxares, taking her hands between his, kisses 
them, as he turns to depart. Fade out and into 

Interior. Same as Scene 13. 

Seluciea and Scala in. Enter Cyaxares and Cam- 
byses in their priestly robes, which they cast aside, 
showing that they are in court dress. Scala throws 
her plump arms madly about Cambvses’ neck, while 
Saluciea greets both the men graciously. They sit 
down to partake of a feast. Suddenly Seluciea rises 
and throws herself passionately into Cyaxares’ arms, 
crying: 

“My prince, Saranaces my ambitions brother, has 
betrayed you into the hands of the King. I love you, 
Cyaxares, and I would have you know that, though I 
am called by the world the mistress of Deioces, never 
once have his polluting hands touched me. I have 
enticed you here at my brother’s command, and you 
will be taken in my company and brought before 
Deioces, unless you seek flight now. For the wrong 
I have done you, my life alone can atone.” 



PHOTOPLAYS 


23 


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Leader 
Scene 16 


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Before a staying hand can stop her, Saluciea has 
broken off the top of a pendant that hangs at her 
chatelaine, and swallows its contents. Cyaxares lifts 
her in his arms, and lays her on a couch, where, before 
her eyes slowly close she whispers: 

“Scala was but my tool. Good-bye, Cyaxares. I 
love you.” 

Saluciea’s head falls against Cyaxares’ breast. Scala 
has swooned. Cambyses speaks 

“She is dead, Cyaxares. We must hasten with Scala 
to the Caverns of Crail.” 

Cambyses dons his priest’s garb, and goes out with 
Scala in his arms, while Cyaxares leans in wretched¬ 
ness over the still form of Saluciea as diaphragm 

SLOWLY CLOSES. 

Audience Chamber of King Astyages of Persis. 

Interior. Audience room in the Palace of King 
Astyages. 

King Astyages in with only one attendant. Enter 
Cyaxares and Cambyses. They are cordially greeted 
by Astyages. After conference, Astyages speaks 

“The daughter of the Sapor in the clutches of the 
fiend Deioces! Even though you and Cambyses have 
rescued her, the whole world must pay the forfeit. It 
means a Holy War.” 

Cyaxares indicates that such would be the case, 
adding: 

“Your Majesty is the natural ally of the Holy 
Crater.” 

Astyages registers great trouble, speaks 

“But my age and infirmities cause me to dread war.” 

Cyaxares reassures the monarch with the words: 

“I, too, have a cause. I will seize this opportunity 
to right my father’s wrongs; therefore I will spare 



24 


PHOTOPLAYS 


Scene: 17 


Scene 18 


Scene 19 


Cut in 


Insert 
Part oe 
Parchment 


you all the hardships of a campaign. When my father 
is restored to his throne Baleria will be purged of its 
impurities. Will you put Cambyses in command of 
a large armed force ?” 

Astyages registers assent. Fade out. 

Exterior. Bridge leading to the Caverns of Crail. 

Cambyses and two followers crossing the bridge. 
They pause suddenly, and Cambyses points to the dis¬ 
tant entrance of the caverns. 

Exterior. The rock-hewn entrance to the Caverns 
of Crail. 

Saranaces and another priest come forth from the 
entrance, carrying a large package. They walk cau¬ 
tiously along the road as Diaphragm closes 

Exterior. Same as Scene 17. 

Cambyses and his companions lurk in the shadows 
of the bridge. Saranaces and his companion priest 
draw near, and as they do so Cambyses takes off the 
priest’s robe that he is wearing and throws it over the 
head of Saranaces, binding him and his companion, 
whom he hides in an embrazure of the bridge behind 
shrubbery. Cambyses is now in possession of the 
package, which he opens and proceeds to examine. 
First is disclosed a treasure casket, on the top of which 
appears in jewels the name “Saluciea,” which casket 
when opened shows a collection of the richest gems 
that Cambyses had ever beheld. He starts back daz¬ 
zled ; then he sees within the casket a parchment bear¬ 
ing the inscription: 

“To His most Holy Majesty, King Astyages, Ruler 
over Persis.” 

Cambyses breaks the seal and reads: 

R is shocking to have to relate this, but it is true. 

I he Prince Cyaxares and his henchman Cambyses 
who already hold the Princess Madrilla, daughter 
of the Sapor, here in Baleria, have engaged with Dei- 




PHOTOPLAYS 


25 


Cut in 

Leader 
Close up 

Scene 20 


Cut in 

Insert 

Letter 


oces also to abduct your daughter for the King’s pleas¬ 
ure. I have frustrated their plot, and now have the 
Princess Madrilla under the care of the Priestesses of 
Crail. I am loyal to the Sapor, I am obedient to your 
Majesty’s will. I pledge you the friendship of the 
Priests of Crail. 

Saranaces. 

Cambyses finishes reading, registers disgust and 
rage, mutters: 

“Traitor! Tool of Deioces!” 

Cambyses and his companions move away as Dia¬ 
phragm closes. 

The Sapor, King of Kings 

The Sapor’s face, a hideous, parchmentlike counten¬ 
ance. Diaphragm down and into 

Interior. Audience chamber of the Sapor. The 
Sapor is sitting upon an ivory throne, a great vicious 
dog, with snarling jaws that show hideous fangs, on 
either side of the throne. They are held by chains 
in the hands of nude Ethiopians. * 

(Note. For detailed presentation of this scene the 
Producer should use Chapter IX of the novel, “The 
Caverns of Crail.”) 

The Sapor and Cyaxares in. Cyaxares stands as 
if spell-bound at the hideous visage before him. The 
Sapor speaks 

“Make known your mission to the King of Kings.” 

Cyaxares advances toward the throne and hands 
a parchment to the Sapor, who, on opening it and read¬ 
ing, stands upon the footboard of the throne, with 
a face distorted with passion, then reads aloud: 

This will be given to you by the Prince Cyaxares, 
who rescued me from the polluting hands of Deioces. 
I cannot in safety get away from the Caverns of 
Crail, where I have been given sanctuary, unless you 
grant to Cyaxares soldiers sufficient for my safe con- 



26 


PHOTOPLAYS 


Cut in 

Cut in 

Cut in 

Sub-title 
Scene 21 


Sub-title 
Scene 22 


duct. He bears credentials from Cracillies, Head of 
the Holy Church of Ironia, and from King Astyages. 

Madrilla. 

Cyaxares’ eyes flash, as he reads the letter, he 
speaks, 

“I implore you, O Sapor, to let me have the honor 
of restoring your daughter to you!” 

The Sapor gives a command to one of his attend¬ 
ants, who soon returns with the High Priest of War, 
to whom the Sapor speaks, 

“Zirkan, as High Priest of War I command you to 
put under arms one hundred thousand men. We will 
call a Holy War against Deioces, and march against 
Baleria.” 

Cyaxares registers protest, saying: 

“No, let us not march against Baleria. Let Deioces 
attack Astyages, and let the battle of destruction of 
the monster take place upon the plains of Aspahan.” 

The Sapor indicates acquiescence as Diaphragm 
CLOSES. 

In the City oe Kings. The Calling oe the 
Clans. 

Exterior. The Fete in the City of Kings in Honor 
of Cyaxares 

(Note to the producer: The elaboration of this 
scene, as described in Chapter X and the following 
chapters, is so rich in spectacular material, that it 
would be well for the producer to draw his presenta¬ 
tion from the book entitled “The Caverns of Crail,” 
pages 174 et seq. } in order to effect proper archeo¬ 
logical results, and perfect the pageant.) 

The Palace oe King Nahan, Leader oe Three 
Holy Wars 

Exterior. Gardens of Nahan’s Palace. 

Cyaxares receiving the adulation of the Rulers of 
the City of Kings. (For detail the Producer will con- 



PHOTOPLAYS 


27 


Scene 23 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


suit “The Caverns of Crail,” that is to say, the book, 
pages 191 et scq.) Fade out and into 

Interior. One of the most splendid rooms of King 
Nahan’s palace. 

Cyaxares, Nahan, and Zirkan (the High Priest 
of War) in. They are in close conference. At length 
King Nahan speaks 

“We had no need of credentials, Prince Cyaxares, 
for already your rescue of Madrilla had been reported 
to us by one who participated in that adventure. Wait 
but a moment.” 

Nahan arises, leaves the room, and returns almost 
instantly with a woman whom he leads by the hand, 
and whose head and face are concealed by a scarf. 
For a moment she stands thus, then Nahan commands: 

“Remove your veil.” 

The woman throws off the scarf, and Saluciea 
stands before Cyaxares. He starts back in amaze¬ 
ment, crying: 

“Saluciea! How come you here? I thought you 
dead.” 

Saluciea holds out her hands to Cyaxares as Nahan 
and Zirkan leave the room. Then Cyaxares grasps 
the hands of Saluciea as she relates: 

“After you left me for dead in the house in Ba- 
leria, you told Cracillies of the tragedy that had be¬ 
fallen. He, as my father’s most beloved friend, hast¬ 
ened to the house, and found that I was only in a 
state of coma from the poison taken, then he sent me 
on here to Nahan.” 

Cyaxares, bewildered, questions Saluciea with his 
eyes and with his lips. Seluciea speaks 

“Because I am the daughter of Nahan.” 

As she speaks, Saluciea lifts the hand of Cyaxares 
to her cheek, then flees from his presence, leaving 



28 


PHOTOPLAYS 


SUB-TITLE 
Scene 24 

Scene 25 

Cut in 

Scene 26 

Cut in 

Cut in 


Cyaxares registering deep emotion love, and regret 
at her flitting as Diaphragm slowly closes. 

The Clan-s of the Holy Crater Pass out to do 
Battle on the Plains of Aspahan 

Interior. Saluciea’s apartments in the palace of 
showing the reviewing stand on which all the Kings 
wait to watch the passing of the hordes to war. Sa- 
luciea and Cyaxares also are on the stand. 

(Note. For the better development of this stu¬ 
pendous scene the Producer is referred to Chapter 
XII of the novel entitled “The Caverns of Crail. ,, ) 

Interior. Saluciea’s apartments in the palace of 
King Nahan. Saluciea and Cyaxares, in. He in 
armor ready for war. As Cyaxares holds her in his 
arms in ecstacy, she clings to him, and speaks 

“Cyaxares, you have made me so happy, and I am 
so grateful. Go now to battle. My love and prayers 
will always be with you.” 

Cyaxares holds her fast for a second, then goes 
out hurriedly. Cut to 

Interior. Tent of Cyaxares. 

Cyaxares in. Enter a young warrior in armor. He 
speaks 

“I am Prince Hanan, the son of Nahan, the brother 
of Saluciea and of the traitor priest Saranaces. I am 
pledged to my sister to defend you to the last drop 
of my blood in battle.” 

Cyaxares greets the young man warmly, and as 
a pledge, of brotherhood the two exchange rings. A 
Messenger comes in, and Cyaxares speaks 

“The hour for the shedding of blood approaches. 
Come, Hanan.” 

Together the two start to go out, as Diaphragm 
closes. 



PHOTOPLAYS 


29 


Sub-title 
Scene 27 


Close up 

Scene 28 


Cut in 


The Battle Before Aspahan 

Exterior. The plains before Aspahan. 

The army of Deioces and the tremendous forces of 
the Holy Alliance stretching out for miles and miles,— 
the allied forces surrounding Deioces’ soldiers, and 
coiling about more and more closely, like some huge 
serpent claiming its victim. 

(Note. The details of this scene are so elabor¬ 
ately supplied in the novel entitled “The Caverns of 
Crail,” pages 236 et seq., that the Producer is referred 
to that volume for expansion.) 

Deioces and his body-guard; he registering fear 
and a desire to retreat as he watches the destruction 
of his horsemen on the plains below. 

Exterior. A promontory overlooking the battle¬ 
field. 

Cyaxares and Prince Hanan observing the fight 
below. Cyaxares points with elation to a distant spot, 
seizes Hanan by the arm, and speaks 

“Look!—the enemy's army is broken,—is routed!” 

Hanan registers delight. Extend the scene so as 
to show the men in attendance upon Cyaxares. 
While Cyaxares and Hanan have been watching the 
scene below they have not noticed that a detachment 
of Deioces’ men has crept through the underbrush,— 
now claimed by a blazing fire,— and without a mo¬ 
ment’s warning these men pounce upon Cyaxares, 
Hanan, and the few guardsmen about the person of 
the Princes. All at once one of the soldiers,—it is 
Sarances,—more vicious than the rest, strikes Cy¬ 
axares from the rear. As Cyaxares falls, Hanan rears 
his body above that of his commander, and cuts away 
at every enemy that comes nigh. Then Saranaces, a 
fiendish grin upon his face, approaches to finish Cy¬ 
axares, but, like a flash of lightning the sword of 
Hanan slashes him through the eyes. Then to the res¬ 
cue come Cambyses with fresh troops, driving away 




30 


PHOTOPLAYS 


Cut in 


Cut in 

SuB-TITEE 
Scene 29 


Cut in 


Leader 
Scene 30 


Scene 31 


the assaulting band. As Cambyses dismounts, Hanan, 
pointing to the slain Saranaces, speaks 

“Look, Cambyses,— my brother! Save Cyax- 
ares—” 

And Hanan drops fainting into the arms of Cam¬ 
byses, who, staring at his burden, gasps out unbeliev- 
inly: 

“Saluciea!” 

Cambyses and the soldiers prepare to take Cyaxares 
and Saluciea from the field as Diaphragm ceoses. 

At the End of Two Weeks' Tender Care 

Interior. A room in the Caverns of Crail. Night. 

Cyaxares lying upon a couch, Saluciea with loving 
hands bathing his head. Suddenly he opens his eyes 
and gazes in bewilderment at her. She breathes his 
name, and with a wan smile of deep content he whis¬ 
pers : 

“Saluciea!” 

Then he closes his eyes again dreamily, and Saluciea, 
as if tired beyond greater endurance, drops her head 
contentedly upon the pillow beside him, and together 
they fall asleep. Cracillies enters, looks benignly at 
the picture that Saluciea and Cyaxares make and tip¬ 
toes gently from the room. 

The Home-Coming of King Phraortes 

Exterior. The Portals of the Palace. 

Crowds are assembled about the palace gates, be¬ 
fore which stand Cyaxares, Cracillies, Cambyses, Sa¬ 
luciea, and all the court officials. Phraortes rides up 
to the gates of the palace, alights from his steed, takes 
his seat in a gorgeous palanquin, and is carried within 
by bearers. Cut to 

Interior. Throne room of the palace of King 
Phraortes. 

Phraortes sits upon the throne. Cyaxares, Cam- 



PHOTOPLAYS 


3 i 


Cut in 


Scene: 32 


Cut in 


Cut in 


Cut in 
Scene 33 


byses, and Saluciea in, also Cracillies, along with a 
vast concourse of court officials and others. The cere¬ 
mony of coronation is in progress, and Cracillies, as 
the highest of church officials puts the crown upon 
the head of the king. The coronation over, Phraortes 
beckons to Cyaxares, to whom he says: 

“Cyaxares, it was my intention to abdicate in your 
favor, but a messenger has brought news to the palace 
telling of the death of the Sapor, and that you, Cy¬ 
axares, have been appointed King of Kings.” 

The announcement of Phraortes is greeted with ac¬ 
clamation by all present, and great rejoicing is reg¬ 
istered by all as Diaphragm closes 

Exterior. Same as Scene 14. Birds are flutter¬ 
ing about a wonderful fountain in the morning light, 
while the sun dashes long lances down, as if trying 
to pierce the very rocks of the Caverns of Crail. 

Cyaxares and Saluciea stand before the fountain, 
he holding her about the waist. Cyaxares speaks 

“To be King of Kings is naught beside reigning 
over the kingdom of your heart, Saluciea. Cracillies 

tells me that I owe by life to you, my queen, for you 
my wife, cured me of my wounds.” 

Saluciea smiles up at him with the question: 

“Do you remember Prince Hanan, who stood above 
you slaying men, and to whom you made a promise 
when you exchanged rings?” 

Cyaxares registers assent, and Saluciea draws a 
chain from her neck to which is attached a ring that 
she places upon her finger, saying: 

“I am Prince Hanan.” 

For a moment Cyaxares holds her at arms length, 
then he passionately crushes her to his bosom as Dia¬ 
phragm GOES DOWN AND OUT. 



































































































. 




























































































































































































- 


































































s 










































THE CHARM OP BALLYHACK 

































































































































































































































































THE CHARM OF BALLYHACK 


Sago, Prince of Ballyhack.A Sanscrit Hero, of Limitless Ugli¬ 

ness 

Echo ..Sago’s Baby Brother 

Saluha .Princess of Heligoland 

DrublE .King of Heligoland 

Groobo .A Witch 

Zuzu ...A Sanscrit Chicken 

And Incidental Characters ad libitum 


35 



































•» 






f 





























PHOTOPLAYS 


37 


Leader 


Insert 

Talisman 


Scene i 


Cut in 


Cut in 


Scene 2 


CONTINUITY 

King Imar of Ballyhack had been shocked to the 
point of death. The talisman of his ancient house had 
been threatened by Druble. This amulet by rights 
belonged to the first-born of each generation of the 
Ballyhack line, therefore it was the rightful property 
of Druble, Imar’s hideous deformity of a son, whom 
he had disowned when an infant, having had the mon¬ 
strosity removed by a trusty servitor to some place be¬ 
yond the mountains. He thought his discarded heir 
dead, until a messenger had come to him demanding 
the treasure. This talisman 

(note. Any exaggerated ornament of base metal 
affixed to a ponderous chain will do for this exhibit. 
The amulet bears upon its face curious characters in 
some imaginary tongue, while on the reverse is borne 
a six-pointed star). 

Interior. A room in the Caverns of Crail. Night, 
containing shrine upon which rests the talisman. 

Enter Druble, rising like a hobgoblin from behind 
the shrine. As he seizes the amulet Sago rushes in. 
Sago cries in amazement: 

“Who are you? And what in Heligoland do you 
want here? ,, 

With a mocking laugh Druble waves aloft the 
talisman, jumps behind the shrine, and before van¬ 
ishing through the floor, calls back: 

“I am your long-lost brother Druble. And you can 
go to Heligoland and find out what I am doing here. 
I am King of that country.” 

He disappears as Sago dashes forward. Cut to 

Exterior. A lone rock on the plains; a cliff behind, 
and silhouetted against the sky, the great castle of 
Ballyhack. 

Druble seated upon the stone, examining the talis¬ 
man; rises and shakes his fist at the distant castle. 



38 


PHOTOPLAYS 


Scene 3 


Cut in 


Scene 4 


Cut in 


As he returns the talisman to his bosom, he gives a 
stupendous yawn, then he draws from the pouch at 
his side a leg of a lamb, bites off a goodly portion, 
and is chewing at it when Sago and Echo ride threat¬ 
ening up upon two burros. Without any apparent 
effort Druble pulls the two brothers down from their 
steeds, gives each burro a vigorous kick in the hind¬ 
quarters; then he tears a corner off the leather coat 
that Sago wears, wipes his greasy mouth and hands 
upon it, and hurls it into the air with such deadly force 
that a buzzard drops dead at the feet of the three men. 
Whereupon, lifting Echo, in his arms, Druble takes 
from the young Prince’s buskin his jingling spur, with 
which he proceeds to pick his teeth as,—having thrown 
Echo against his brother Sago with such force as to 
down the two,—he saunters from the spot. Fade to 

Interior. Bed-chamber of King Imar, furnished 
with burlesque magnificence. 

Imar in bed, apparenty very feeble; attendants min¬ 
istering to him. Enter Sago and Echo, leaning upon 
each other, much the worse for bruises. In panto- 
mine they relate what has occurred to them in Scene 
2. Imar registers weariness of life; speaks 

“The blow has not killed you, but it is my death. 
Promise me, Sago and Echo, for the love of our 
sacred ancestors, that you will depart at once in search 
of the charm of Ballyhack. He who brings back the 
charm of our house shall be king in my stead. Go!” 

Sago and Echo bid their father farewell in the 
princely way, and go out, just as King Imar enters his 
death agony with much elaboration, while Diaphragm 
CLOSES. 

Exterior. Gap in the mountains. 

Sago accompanied by Echo,—both on horseback,— 
enters the pass. Both register distress at the outlook; 
Sago speaks 

“Pity the old man put us up to this adventure. I 
wonder what the Heligoland trip will bring forth.” 



PHOTOPLAYS 


39 


Scene 5 


Cut jn 


Cut in 


Cut in 


Cut in 


Cut in 

Cut in 


Cut in 


Echo looks non-committal as Diapraghm goes 
down. 

Interior. Cave of the witch Groobo. 

Groobo in, engaged in the usual pastimes sup¬ 
posedly common to witches. Salula, fresh as a ripe 
apple, enters. Groobo makes obeisance, asking: 

“What is your behest, my beautiful Princess?” 

Salula, patting the old witch upon the shoulder, an¬ 
swers : 

“Groobo, is your power of divination on the wane? 
I want my Prince you said would come to me.” 

Groobo goes to a corner, brings out a calabash and 
a few seeds, also some wafers. She gives both the 
seeds and the wafers to Salula to eat while she pores 
over the calabash. After considerable stage business, 
she speaks 

“I make no mistakes. You will meet a knight in 
golden armor at the foot of the impassible cliff.” 

Salula tosses her head asking: 

“But if the cliff is impassible, how can he come 
to me?” 


Groobo bends an unanswerable look upon Salula, as 
she returns: 

“Ah, the ways of the gnomes are wondrous!” 

Salula gazes as if enthralled at Groobo, begging: 

“Oh, tell me all about it, good Groobo.” 

After same cajoling on Salula’s part, the old witch 
answers: 

“Sweet Princess, far beyond the mountains lies 
the great castle of Ballyhack. One of the sons of this 
great house will come into this land. You will meet 
him at the foot of the cliff. He is the first man you 
will love,—and the last. He should be coming now.” 



40 


PHOTOPLAYS 


Sub-title 

Scene 6 

Cut in 

Cut in 

Cut in 

Cut in 

Scene 7 


With infinite eagerness Salula registers her desire 
to depart in search of her coming lover, urging Groobo 
to go with her. Groobo consents at length, and the two 
are about to leave the cave as Diaphragm closes. 

When Sago had journeyed many days his raiment 
made him feel like unto that proud bird that spreads 
its gaudy tail and struts until it looks down upon its 
homely feet, when its proud crest falls. His golden 
armored-bodice shamed the sunlight, his plumed-crested 
helmet likewise, but his silken breeches had well-nigh 
disappeared with riding through brambles. 

Exterior. A lonely spot upon a mountain-top. 

Sago and Echo sitting upon the earth; Sago polishes 
his helmet, and looks down forlornly at his rotten 
breeches. Echo, in dented armor, looks sympathetic¬ 
ally at his brother and says: 

“Sago, you look as if you might be in trouble?” 

Sago sniffs, as he asks: 

“Trouble? Do I look as if good fortune were fan¬ 
ning me?” 

Echo turns toward him, places his hand affection¬ 
ately on Sago’s shoulder, and consolingly says: 

“You have my sympathy.” 

Sago sullenly shakes off his brother’s hand, and 
growls : 

“You can keep your sympathy if you would give 
me a pair of breeches. Come, let us onward, Echo.” 

The two rise from the ground, don whatever bits 
of their accouterments they have shed, and start away. 
Cut to 

Exterior. The plains below the cliff, which spreads 
out in the distance. 

Salula and Groobo riding at the head of a magnifi¬ 
cent cavalcade. Salula seems to be questioning Groobo 



PHOTOPLAYS 


4i 


Scene 8 . 


Leader 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


as to the point where she and the Prince are to meet. 
OUT. 

Exterior. Another point on the cliff overlooking 
the plain. Night is drawing on. 

Enter Sago and Echo, weary. They throw them¬ 
selves down on the earth. Soon Echo is asleep. Sago 
kicks him to be sure that he is quite lost to the present, 
then he draws a flagon from the inner part of his 
breastplate. As he is about to drink, down from above 
his head flutters what seems to be a bird 

A Sanscrit Chicken: Zuza 

As the bird descends, she reaches out from under 
her wings two plump arms, then she alights, and the 
wings fold about her form. Sago’s eyes almost drop 
out at the winged apparition having the head of the 
most beautiful of women. After a few gasps he fails 
to get out a word; whereupon Zuza asks: 

“Did you believe me an angel descended from 
heaven ?” 

Fascinated, Sago replies: 

“Yes; and I do still.” 

At this Zuza raises her snowy wings, revealing a 
form of feminine beauty that makes Sago blink, and 
then she speaks 

“No, I am one of the daughters of Hellagoland, 
and when you come there I shall be waiting for you, 
as I have been waiting always.” 

Sago registers amazement, asking: 

“How know you that I am going to Hellagoland?” 

Zuza laughs merrily; answers: 

“A daughter of the gnomes knows everything. Be¬ 
sides, you wish to gain again the charm of Ballyhack, 
which is in Hellagoland ,—but there are still greater 
charms there, and I—” 



4 2 


PHOTOPLAYS 


Scene 9 

Cut in 


Cut in 


Cut in 


Cut in 


Scene io 


Sub-title 


Scene ii 


Before she can finish speaking, Sago extends his 
arms as if to embrace her, but Zuza opens her snowy 
wings and flutters off. Fade out. 

Interior. Room in the palace of King Druble. 

Druble in; attendants in waiting. Enter Chamber- 
lain, who announces: 

“It is well known that the son of King Imar is nearly 
at the doors of Hellagoland. He seeks the talisman 
that is the rightful property of your Majesty. ,, 

Druble registers disbelief; then he asks: 

“Comes he with forces ?” 

The Chamberlain salaams in the Sanscrit way, say¬ 
ing: 

“Nay, Sire, he cometh without retinue.” 

Druble looks amazed. Goes to a cabinet in-the room, 
takes therefrom the talisman of Ballyhack, and cries: 

“One so brave as to seek Druble alone,—and he the 
brother of Druble,—will be a fearsome foe. He seeks 
the charm,—does he? Well, melt this bit of piffle, 
so that there will be no charm to seek.” 

The Chamberlain bows some more, takes the talis¬ 
man, then retires, walking backward. Fade out. 

Exterior. The edge of a cliff. In the distance a 
magnificent city lying as if sleeping on the plain. 

Sago with Echo at the brow of the cliff, seeking as 
though they wished to find some means of descent 
into the valley below. At length Sago perceives some 
broken twigs, indicating that something had descended 
into the land below. As he looks he stumbles and 
slips. 

And just then Sago loses his balance, and over 
the cliff he goes, grasping at the wind in his down¬ 
ward flight. 

Exterior. A lone tree on the mountain-side. 



PHOTOPLAYS 


43 


Close up 
Scene 12 

Sub-title 

Cut in 

Scene 13 

Cut in 

Cut in 

Cut in 

Cut in 


Sago, tossed in the air, lands on the tree, where he 
rests, denuded of the remaining shreds of his breeches. 

Exterior. Mouth of a cave at the border of the 
plain. 

Sago continues his drop, landing at the mouth of 
the cave. In his half-clothed condition, he looks about 
for some place of retirement. 

And Then a Ripple of Laughter Assails Sago's 
Ears, Ending in a Cry of Delight. 

Out of the cave emerges Salula, her heavy hair 
coiled in great masses beneath her silken headdress. 
She comes to where Sago is lying, and upon seeing the 
polished corselet, the unique face, and the plumed 
crest of our Prince, Salula cries: 

“ ’Tis he! My Prince has come. O Groobo, Groobo!” 

Groobo issues from the cave. She and Salula re¬ 
lieve Sago of his armor, thus leaving him practically 
nude. The two lift him up and take him within the 
entrance of the cave as Diaphragm closes. 

Interior. Another cave. 

Sago lying upon a rude couch. Salula bending, 
with entranced eyes above him. His eyes open; he 
sighs; she sighs, he speaks 

“Where am I?” 

Salula clasps his head to her bosom, as she answers: 

“You are in Heligoland, my Prince. Oh, how I 
have waited for you?” 

Sago looks bewildered for a moment, then says: 

“That has a familiar note in it. That’s what the 
other one said. You don’t happen to be named Zuza, 
—does-oo ?” 

Salula looks away, addresses the air: 

“Poor Prince, he is delirious!” 



44 


PHOTOPLAYS 


Cut in 

Cut in 

Cut in 

Cut in 

Cut in 

Scene 14 

Cut in 


Suddenly Sago arises from his couch and enacts a 
love scene, the warmth of which is limited only by the 
restrictions of the censor; at the end of which act they 
cry as in a breath: 

“My love,—my life!'' 

All at once, after some talk, Sago asks: 

“Who are you!” 

With her head coyly averted Salula asks: 

“Why do you ask!” 

And Sago answers: 

“Because you seem to know all about me, while I 
know nothing of you.” 

Salula looks meaningly into the eyes of Sago and 
speaks 

“I am the Princess Salula, who pledges her faith 
that you shall restore the charm to Ballyhack.” 

With gladness in his eyes, Sago ecstatically clasps 
her to his bosom. Diaphragm down. 

Exterior. Same as Scene 12. 

A warlike cavalcade in waiting without the cave, 
out of which come Salula and Sago. Sago has been 
clothed in gay breeches embroidered in gold, to match 
his golden armor. Two steeds are in waiting for them. 
As Sago helps the young Princess onto her steed, he 
exclaims dramatically: 

“Lead me where thou wilt, fair charmer, I am thy 
champion for aye!” 

At this moment Groobo also comes out of the cave, 
and indulges in a chuckle, as Salula says to Sago: 

“I take you to my father’s palace. Hold your crest 
high, for are you not the son of Imar?” 

Fade out as the calvacade gets under way. 


Cut in 



PHOTOPLAYS 


45 


Scene 15 


Scene 16 


Cut in 


Cut in 


Scene i 7 


Sub-title 


Exterior. Gates of the royal city of Druble, with 
glimpses of houses covered with the populace, who 
watch the approach of the riders. 

The cavalcade, headed by Salula and Sago, ap¬ 
proaches and enters. Fade out and into 

Exterior. A street in the royal city, showing the 
great public square. 

As Salula, Sago, and their followers approach, a 
band of many humriyas springs out from amid the 
gaily-dressed throng about and whirls in its semi¬ 
nudity around the Prince and Princess. This spectacle 
ended the most conspicious among the dancers, Zuza 
(now denuded of her snowy wings), claps her hands 
at the sight of Sago, and with a bound rises to his 
saddle, throws her arms about his neck, and exclaims: 

“Said I not so? Waiting always wins. You have 
come to me, my sweet Sago.” 

Zuza tries to press her lips to those of Sago, but 
Salula turns to one of her followers, and commands: 

“Throw this impudent wench into the alligator 
pond.” 

Zuza is wrested from the embrace of the all-embrac¬ 
ing Sago, and amid screams and struggles on her part 
is hurried away as the cavalcade passes on carelessly. 
Out and into 

Exterior. The great portal of Salula s palace. 

Sago and Salula, heading the great cavalcade, ar¬ 
rive. He lifts her with exaggerated ceremony from 
the saddle, at which great feat of strength a murmur 
of admiration stirs the onlookers. 

In her ecstatic emotion at her lover’s prowess, Sa¬ 
lula bites a piece as big as a walnut out of Sago’s 
cheek. 

Salula, taking her mouth away from Sago’s cheek, 
to which it has been long attached, is shown to be 
ejecting a morsel of something, the nature of which 
is told in the above Sub-title. Cut to 



46 


PHOTOPLAYS 


Scene 18 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Interior. Great reception-room of Druble’s pal¬ 
ace, a throne, unoccupied, at one end. 

The whole court present. Enter Salula and Sago, 
followed by a noble retinue. Seeing the empty throne, 
Sago speaks 

“Salula, fairest of princesses, I find myself piqued 
that your father is not here to greet me. Nor have 
you yet told me the name of the country of which you 
are the Princess Royal.” 

Coyly does Salula lift her eyes, as she confesses: 

“You are in Hell—” 

Before she can finish, she is interrupted by the en¬ 
trance of Druble. He comes into the throne-room, 
holding in his hands a bowl of porridge, into which 
he from time to time buries his nose and mouth, as 
he takes great gulps of the horrid mess. Advancing 
from a side door, he grotesquely mounts the throne. 
At the sight of his monstrosity of a brother, Sago 
dashes up to the throne, clutches Druble by the neck, 
and cries: 

“Robber! At last I have you between my fingers.” 

Consternation among the courtiers. Druble, be¬ 
tween gasps, manages to articulate: 

“What the Heligoland do you mean by coming 
here?” 

By this time Sago is being held securely by two or 
three of those about the person of the King, while Sa¬ 
lula is endeavoring to get her arms about his person, 
in order to tear Sago free. Despite these difficulties, 
Sago answers: 

“I seek the cherished charm of Ballyhack that 
you stole. I demand that you restore it to me.” 
Druble chuckles, then speaks 

“The talisman that I took was mine by right, and 
I have made sure that it could never be taken from me 



PHOTOPLAYS 


47 


again. I have had it melted into shoes for my horses. 
Anyhow, it was only an imitation, like so many an¬ 
tiques.” 

At his words a look of perfect peace settles upon 
the face of Sago. Wrenching himself free, he turns 
with happy eyes toward Salula, extends his arms, 
saying dramatically 

Cut in “There is nothing of imitation about your charm, 

sweet Princess. I have promised to return Ballyhack’s 
charm. I will. Let us hasten back to that lordly 
castle, my charmer. Henceforth you shall be the 
charm of Ballyhack.” 

Salula drops into Sago’s arms, as Druble, fiendishly 
laughing, raises his hands in mock benediction while 
the courtiers show their approval of the happy term¬ 
ination of what promised to be a perpetual interna¬ 
tional misunderstanding by lustily waving and cheer¬ 
ing. Fade out. 





THE HERCROFT MYSTERY 











PRINCIPAL CHARACTERS 
Prelude 


The Duke of Hurlstone .... .Profligate and Saint 

Reverend James March -- Steward of Hurlstone 

Betty ...His Daughter, the Duchess 

Pretty Laffelle. A Music Hall Dancer 

Dr. George McKim ..Her Fiance 

James McBirney .Under-gardener at Hurlstone 

Mary McBirney .His Little Daughter 

Nursemaid, Babies, Dancing Girls, 
etc., etc., etc. 

Play 

Dr. Paul McKim .A Young Chemist ) . _ , T 

Peter Kelly . A Derelict } Male Uad 

Eudora Von Comp. A Society Belle: Female Lead 

Mrs. VonComp .Her Mother a Philanthropist 

Mary McBirney .Mrs. Von Comp’s Secretary 

James McBirney .Her Brother, a Detective 

Reverend James March .Trustee of the Hurlstone Estate 

Beaufort March .His Son, Co-trustee 

And Others 


SYNOPSIS 

Somewhat more than thirty years before the actual drama be¬ 
gins, the young Duke of Hurlstone, endowed with a dual personality, 
became infatuated with a dancer at a London music hall, Pretty 
Lafifelle. Pretty was the fiancee of Dr. George McKim, a London 
chemist, but just previous to the time appointed for the wedding 
of the two she disappeared. Prostrated, George falls ill, and on 
his recovery learns of the whereabouts and occupation of the girl 
he so madly loves. Seeking her out, he finds her at a cafe with the 
Duke, who, on George’s appealing to the girl to return home, gives 
the young scientist a sound thrashing. George swears to be avenged. 
.... At home the Duke has a devoted young wife, Betty, whose 

5 * 
















52 


PHOTOPLAYS 


father is the Rev. James March, steward of Hurlstone. Eighteen 
months after his marriage to Betty an heir is born to the ducal 
house, and on the very same day, in the cottage of an under-gardner 
of the estate (James McBirney) Pretty gives birth] to a boy. 
Mary, McBirney’s fourteen-year-old daughter, becomes the nurse 
of Pretty’s baby .... One day the nurse of the young heir to the 
Hurlstone rushes in and tells the Duchess that James McBirney had 
tried to substitute Pretty’s little bastard for Betty’s child the two 
having the appearance of being twins, even to the heart-shaped 
Hurlstone birth-mark up on the forehead. . . . Pretty quarrels with 
the Duke, and leaves the neighborhood, with an oath of vengeance 

on her lips.A year later disaster came to the Duke and 

Duchess: the heir was kidnapped nor did the reward of five thous¬ 
and pounds offered by the Duke bear fruit. The Duchess never re¬ 
covered from the shock, but before dying she sent for her father 
and brother, and with her last breath whispered some secret to be 
held inviolate by them. 

Time leaps forward thirty years. New York is now the scene 
of the drama. Mrs. Von Comp, President of the Saving Society, 
an organization that is a sort of way station between unlawful 
freedom and unlawful imprisonment, chances to be riding in her 
car with her daughter, and comes upon a policeman whacking the 
soles of the feet of a derelict of handsome physique, who is snatch¬ 
ing a nap upon a forbidden bench in Central Park. Mrs. Von 
Comp becomes responsible for the supposed tramp. He falls madly 
in love with Eudora. Examined at the office of the President of 
the Saving Society he gives the name of Peter Kelly. Eudora has 
noticed that high on the right temple of Peter Kelly there appears 
a heart-shaped birth-mark. The Secretary of the Society, Miss 
Mary McBirney, is visibly disturbed at the sight of the same mark. 
Eudora is convinced that the derelict has adopted the disguise of a 

tramp to conceal his real identity.Mrs. Von Comp gives 

a reception to which her nephew Chester brings His chosen friend, 
Dr. McKim, who at once becomes devoted in his attentions to the 
daughter of the house, Eudora. She, too, is strangely attracted to 
him. That evening he declares his love for the young girl as the 
two are in tete-a tete in the conservatory; but in the midst of the 
love passage the girl starts as though hypnotized: for high up on 
the right of McKim’s brow she sees the same mark that she had 
noticed on the brow of Peter Kelly.The same night Mary 






PHOTOPLAYS 


53 


McBirney, who has had her brother James appointed detective to 
protect the guests at the reception, in forms James that she has dis¬ 
covered in Dr. McKim the Peter Kelly whom she knows to be the 

long-lost heir of Hurlstone.At the fete a valuable string 

of pearls is either lost or stolen. . . . McBirney follows McKim to 
his home, gains admittance to his presence, and as he enters the 
room discovers the string of pearls lying on the table before the 
Doctor. McBirney tells McKim that he knows him to be a gentle¬ 
man burglar who sometimes assumes the name of Peter Kelly, but 
(having the knowledge of the reward in mind, of which, however, 
he tells McKim nothing) he recounts to him the history of the lost 
heir to Hurlstone, and urges him to go back to England and claim 
his property and title. McKim holds his decision in abeyance, 
swearing McBirney to secrecy as to his identity. . . . While at 
work in his laboratory the next day McKim received a telephone 
message from Eudora asking him to meet her at tea at the Biltmore 
on a most important matter. McKim and Eudora meet at the table 
in the hotel, where she tells him the story of Peter Kelly, tramp, 
adding that Mary McBirney had asserted to her that he and Peter 
Kelly are one, and that he has been accused by the secretary of 
stealing a string of pearls of Mrs. Seabury; though at the same 
time Eudora assures the Doctor that she knows him to be innocent 
of the theft, for she had seen the clasp of the necklace break, where¬ 
upon Mrs. Seaburf had taken off the string of pearls, wrapped them 
in her handkerchief, and had gone to the cloak room and slipped 
them into the pocket of her wrap. Later, when Mrs. Seabury had 
looked into the pocket, the jewels were not there. ... As Eudora 
and McKim leave the tea room and enter the corridor, where she 
was to meet Mrs. Von Comp, what is the astonishment of the two 
as they near the paper stand to see Mrs. Von Comp extend her hand 
to a man standing there with a “Why, Dr. McKim!” Eudora and 
Dr. McKim come up at the very moment, and he and Peter Kelly 
are face to face, each looking at the other as if he were gazing at 
himself in a mirror . .McKim invites Kelly to meet him at his 
home, where he asks the one-time tramp if he knew anything of 
his parentage. Whereupon he tells McKim that he was brought 
up by a Dr. George McKim in India, who, however, was not his 
father, while McKim reports to Kelly that he was brought up by 
a Dr. Emanuel McKim in London, who was not his father; then he 
goes on t« relate the story of the Hurlstone mystery as told to him by 




54 


PHOTOPLAYS 


James McBirney. Since there are two of them (bearing the identi¬ 
cal marks, and resembling each other so strongly that the woman 
who loved McKim had almost believed him to be his double) they 
decide to go to Hurlstone and leave the matter of decision to the 
trustees of the estate as to who is the rightful heir, . . In the 
library of Hurlstone Manor the two claimants to the dukedom hold 
a conference with old Mr. March and his son Beaufort, both the 
trustees scrutinizing McKim and Kelly without being able to tell 
them apart. Then Mr. March tells of one mark of identification 
that the Duchess Betty had had a London surgeon put upon the 
body of her son when she had learned of the Hurlstone birthmark 
on Pretty Laffelle’s baby,—the secret of which mark the Duchess 
has imparted to her father and brother on her deathbed. The two 
men strip to the waist, are examined, and there upon the back of 
Paul McKim appears the cross-shaped scar that proves him to be 
the legitimate son and heir of James Malcomb Hercroft, second 
Duke of Hurlstone. . . . And in a church in New York Eudora 
Von Comp is led to the altar by James Malcomb Hercroft. Only 
after the ceremony, as the bridegroom is taking his first toll of his 
wife’s lips, does he greet Eudora as “Duchess,” to her wonderment. 

.And Dr. Paul McKim ? He still practices his profession in 

New York, and few are aware that he was once known and re¬ 
corded on the books of the Saving Society as Peter Kelly, Tramp. 




PHOTOPLAYS 


55 


Leader 


Cut in 
Scene i 

Cut in 


Leader 
Scene 2 


Scene 3 


CONTINUITY 

The physical separation of a man’s dual nature in¬ 
volves a scientific problem of which the strange case 
of James Malcomb Hercroft, second Duke of Hurl- 
stone (saint and profligate), and his progeny forms 
an interesting demonstration. 

Hurlstone Manor, 1888 

Exterior. Walk in the grounds of Hurlstone 
Manor. 

Coming along the walk are the Duke and Duchess 
in affectionate converse. Duke speaks;— 

“Yes, dearest, our first parting. But business calls 
me to London for three weeks. They will soon pass.” 

Kisses Duchess fondly. She throws arms about 
his neck, weeping. Diaphragm closes. 

Pretty Lafeelle, a Plaything 

Interior. London Music Hall of the notorious 
class. 

Pretty on stage, going through her dances. At one 
of the tables close to the stage sits the Duke, con- 
spicious among the audience by his look of well- 
dressed, drunken vagabondage. Leers at Pretty, 
makes demonstrations of admiration. Further back 
in audience is Dr. George McKim, showing signs of 
recent severe illness; he tensely watches Pretty, his 
eyes gleaming with a mad light. Cut to 

Exterior. Street, showing stage entrance to Music 
Hall and automobile in waiting. 

Enter McKim, who knocks at door, which opens. 
Doorkeeper comes out. McKim pleads with him, but 
is rebuffed. Door closes. McKim lurks in the shad¬ 
ows of the night. Duke and Pretty appear in door¬ 
way, enter auto and drive off. McKim calls cab, bids 
driver follow Duke’s car. Both cars hurry off. Fade 
out. 



PHOTOPLAYS 


56 

Scene 4 


Cut in 


Cut in 


Cut in 


Leader 
Scene 5 


Cut in 


Interior. Private room of Cafe. 

Duke and Pretty eating and drinking. Love pas¬ 
sages of an alcoholic sort. Dr. McKim forces way 
in. Duke rises tipsily to feet. Pretty looks stupidly 
on. Duke shows indignation. Speaks 

“What do you mean by this bally intrusion, my 
good man?” 

McKim shoves Duke back into chair, turns to Pretty, 
and speaks 

“At last I have found you, Pretty. I have been 
ill, or I would have come for you sooner. Come home. 
Marry me as you promised. I love you in spite of 
everything/’ 

Pretty shrugs her shoulders, with a scoffing laugh. 
Duke rises, seizes a cane from the corner of the room 
and beats the ill man about the head and shoulders. 
McKim falls to the floor. Pretty drags Duke away 
from his victim, caressing him into obedience. Mc¬ 
Kim rises with difficulty with maddened efes, crying 
looks back at the Duke with maddened eyes, crying 
vehemently: 

“Though my body is weak to-night, my vengeance 
will be strong!” 

Leaves room. Pretty and the Duke resume their 
interrupted occupation. Fade out. 

And When Eighteen Months Had Passed 

Interior. Duchess’ bedroom at Hurlstone Manor. 

Duchess in bed. Infant in bassinette near, Nurse 
and so forth in. Enter Duke in all the pride of a 
young paternity, with him enters the father of the 
father of the Duchess Betty, the Reverend Mr. March. 
Duke goes to bassinette, scrutinizes the infant, points 
to heart-shaped birth-mark upon the right temple of 
the child. Speaks 

“The mark of our house, Betty love,—the house of 
Hurlstone!” 



PHOTOPLAYS 


57 


Leader 


Scene 6 


Cut in 


Leader 
Scene 7 


Cut in 


Scene 8 


Duke and Mr. March both examine the child, bring 
the little one to the Duchess, showing to her the identi¬ 
fying mark. Fade out. 

And at the house oe James McBirney, under¬ 
gardener ON THE HuRESTONE ESTATE, AT THE SAME 

TIME 

Interior. Simple bedroom of Pretty Laffelle. 

Pretty looks, then seizes the infant and clasps it 
identical in every respect with the little heir. Four¬ 
teen-year-old Mary McBirney flutters in, leans over 
mother and child, then stares at the baby's brow, and 
points to a heart-shaped birth-mark high up on the 
right side of the baby’s brow. Mary speaks 

"Look, Miss Pretty. Your boy has the mark of the 

Pretty in bed, with infant at her bosom, the child 
rapturously to her bosom. Fade out. 

Brothers in Blood 

Exterior. The lawn at Hurlstone Manor. Heavy 
shrubbery all about. 

Mary McBirney, with Pretty’s baby, and the Duch¬ 
ess' Nursemaid, with the little heir are chatting to¬ 
gether near the shrubbery. The girls place the two 
babies side by side on the turf. Mary speaks 

"As like as two peas, even to the mark.” 

Mary draws the Nursemaid’s attention away from 
the child. As she does so James McBirney issues from 
the shrubbery and changes the position of the children. 
Just as he puts down the heir the Nursemaid of the 
Duchess catches him in the act, snatches up the Duch- 
ees’ baby and rushes away. Cut to 

Interior. Duchess’ Boudoir. 

Enter Nursemaid in panic, with baby in arms, an¬ 
nounces excitedly 




58 


PHOTOPLAYS 


Cut in 

Scene 9 


Scene 10 

Insert 
Part oe 
Letter 

Scene ii 


Cut in 


Leader 
Scene 12 


“That Laffelle’s baby is just like my little master, 
even to the mark. Just now James McBirney . . . .” 
Flash to screen 

Exterior. Same as 7. 

Same. Fade back to 

Same: Nursemaid finishes story. Duchess in ter¬ 
ror clasps the heir to her heart. Looks Heavenward 
with an expression of dread as Diapraghm closes. 

Interior. Pretty Laffelle’s room at the McBirney’s 

Pretty in. Mary enters, hands her letter. Pretty 
opens letter, reads: 

.... and will arrange that my solicitors pay to 
you six hundred pounds annually, so long as you and 
your son keep out of England. 

James Malcomb Hercroft 

Pretty finishes letter. Registers rage. Cut to 

Exterior. The carriage drive near Hurlstone 
Manor. 

Enter Pretty in carriage with her baby and Mary 
McBirney. As the carriage reaches the point just op¬ 
posite the house, Pretty snatches the child from Mary’s 
arms, and standing upright, holds the baby aloft, 
points toward the ducal home, and cries 

“Look at your home, my boy! You shall yet be 
master there.” 

Resumes her seat in carriage, which passes on a- 
down the road. Cut to 

And When Two Years Had Gone 

Exterior. Park at Hurlstone 

The little heir is toddling about, his nurse beside 
him. Suddenly the Nursemaid is seized, gagged, blind¬ 
folded, and tied hand and foot by a man with a cap 
pulled down over his eyes, and with the lower part of 
his face muffled. Man seizes the heir and disappears 
in the shrubbery. Fade out. 



PHOTOPLAYS 


59 


Scene 13 

Cut in 

Scene 14 
Cut in 

Scene 15 

Cut in 

Leader 

Sub-title 
Scene 16 


Interior. Laboratory of Professor Emanuel Mc- 
Kim, the brother of George. Enter George as if in 
terror. In his arms he carries a sleeping baby, 
speaks 

“Pretty Laffelle and I have just run over from 
France, and are now en route for India. We will not 
take the child with us. Keep him. Care for him. 
Good-bye.” 

The Professor tries to detain his brother, but George 
vanishes as suddenly as he had entered, after putting 
the infant in the Professor’s arms. Cut to 

Interior. Office of the Duke’s solicitors. 

The Duke and his counsel conferring. Duke speaks 

“The heir must be found. The offer of Five Thou¬ 
sand Pounds should bring results, though Scotland 
Yard is baffled. The life of the child’s mother hangs 
upon his recovery.” 

The Duke rises, the conference being over, and de¬ 
parts. Cut to 

Interior. The bedroom of the Duchess. 

The Duchess on her deathbed. Mr. March and her 
brother Beaufort grief-stricken beside her. Duchess 
speaks 

“Father, despair has killed me. Bend down, for I 
have a secret to tell you, which even my husband 
doesn’t know. Tell Beaufort, too, in case.” 

Whispers in Mr. March’s ear. As she finishes, the 
Duke enters. The Duchess’ head falls forward. She 
is dead. Diaphragm closes. 

Central Park, New York, in the Year oe Grace, 

1920. 

The Tramp 

Exterior. Bench in Central Park. 




6o 


PHOTOPLAYS 


Cut in 


Cut in 


Cut in 


Cut in 


Leader 


Tramp, bearded, with feet comfortably stretched 
upon a forbidden bench, sneaking a snooze. Enter 
policeman, who whacks the soles of the sleeper. 
Policeman speaks 

“You can’t sleep upon these park benches. Git!” 

Urges tramp to rise. Prods him in the side with 
his club. 

Automobile drives up with Mrs. Von Comp and 
Eudora. Mrs. Von Comp orders chauffeur to stop. 
She beckons to policeman to bring Tramp to her. At 
first sight of Eudora the Tramp becomes as one spell¬ 
bound with admiration of her beauty. He and police¬ 
man approach the automobile. As the Tramp stands 
bareheaded in the presence of the two women, and 
while Eudora studies his unusually fine face with 
manifest interest, the wind lightly lifts the fair hair 
from his brow, and she notes that high above the right 
temple is a peculiar heart-shaped birth-mark. Before 
anything could be said by Mrs. Von Comp the Tramp, 
with an air of superiority, says 

“Officer, if I am under arrest, do your duty; if I 
am not, I will go my way.” 

Is about to turn away from the automobile when 
Mrs. Von Comp detains him with a gesture. Taking 
a card from her case, she hands it to the policeman, 
speaks 

“As president of the Saving Society, Officer, I 
assume responsibility for this man. Edgerton. ...” 

Motions to her footman to descend. Speaks to 
Tramp 

“You will accompany this officer of the Society to 
my office.” 

Tramp bows profoundly, with mock deference, to 
the policeman, resumes his cap and goes off with 
Edgerton as the limousine drives away. Fadei out. 

The Saving Society: A Way Station Between Un¬ 
lawful Freedom and Unlawful Imprisonment 



Scene 17 


Cut in 

Cut in 

Cut in 


Cut in 


PHOTOPLAYS 61 - 


Interior. Office of Mrs. Von Comp, President of 
the organization, rather luxuriously furnished, but 
with a cage-like partition, suggestive of prison bars, 
at one end of the room. 

Behind this screen barred from the room is the 
Tramp, while the Secretary of the Society, Miss Mary 
McBirney (a clerkly looking woman of fifty or so) 
works about the desks as if she were clearing the 
decks for action. The Tramp watches her with in¬ 
terest. Mrs. Von Comp enters, bows to tramp, who 
gives her courtly greeting, whereupon she addresses 
him with 

“You have evidently seen better days?” 

The tramp bows again, speaks 

“A rhetorical question, Madame, therefore I need 
not reply.” 

Mrs. Von Comp and Mary McBirney begin the 
examination of the Tramp, the President questioning, 
the Secretary recording the answers: 

“Your name?” 

“Peter Kelly.” 

“Nationality?” 

“I am an Englishman.” 

“Your trade?” 

“I have a professon; I am a chemist.” 

“If the Society should give you financial aid, would 
you act in good faith, try to re-establish yourself, and 
seek employment?” 

The Tramp draws himself up at this point, for one 
moment darts a look of resentment toward his ques¬ 
tioner, then speaks 

“Madame, every man who has the misfortune to 
be a vagabond is not necessarily a thief.” 

Mrs. Von Comp speaks in low tones to her Sec¬ 
retary, who mutters some thing about the man’s being 
“stubborn and insolent,” then the President goes over 




62 


PHOTOPLAYS 


Cut in 

Cut in 

Cut in 

Cut in 

Scene 18 

Scene 19 

Scene 20. 


to the barred screen, hands an envelope to Peter Kelly, 
and speaks 

“Here are one hundred dollars. I shall expect you 
to report to me here in three days. So far as you 
are aware, I am putting you wholly on your honor.” 

Kelly makes as though he would give back the en¬ 
velope and its enclosure, saying: 

“I am more grateful to you than I can say, but if 
this money binds me to return here in three days, I 
cannot accept it. However if I do not return it then, 
I will appear here in person.” 

In his emoton Kelly passes his fingers lightly 
through his hair at the right temple, revealing as he 
does so the little heart-shaped birth-mark. Mary Mc- 
Birney starts as though she had been stabbed, and 
gazes fixedly at Kelley. Mrs. Von Comp is speaking 

“I will trust to your honor. You are free to go.” 

Kelly makes his exit, passing Eudora, who is 
entering at the door. He strives to hide his face from 
her. As soon as he is gone, Mrs. Von Comp touches 
button. Edgerton appears. Mrs. Von Comp orders 

“Follow that man.” 

Edgerton goes out. Diaphragm closed. 

Exterior. Kelly passing along the thoroughfare, 
Edgerton at a discreet distance in the rear. Kelly 
stops before bakery on side street. Cut to. 

Interior. Bake shop, with usual accessories. 

Clerk in. Enter Kelly. Buys rolls, small cakes, 
eats them ravenously, carries out a few in bag, eating 
as he goes. Cut to 

Exterior. Another Street. 

Kelly among other pedestrians, followed with great 
difficulty by Edgerton. Kelly reaches corner and turns 
suddenly. Fade to 



Scene: 21 

Leader 
Scene 22 


Scene 23 
Scene 24 

Scene 25 

Cut in 


PHOTOPLAYS 63 


Exterior. Another Street, showing second-hand 
clothing shop and book store next to it. 

Edgerton stands before clothing shop, looking up 
and down for Kelly, who has disappeared. Waits, 
looking into the window of clothing store, occasion¬ 
ally peering into the doorway. Cut to 

Twenty Minutes Later 

Exterior. Same as 21. 

Edgerton still looking into window. Out of door 
of book shop emerges Dr. Paul McKim, frock-coated, 
wearing a carefully trimmed blond beard, and a soft 
black hat. A look of recognition flashes in the eye of 
Edgerton, and he resumes his stalking. But Dr. Mc¬ 
Kim hails a passing taxi, enters, gives direction to 
driver, and is away, with Edgerton still in pursuit, for 
he has hailed another cab, which he orders to keep 
McKim’s in sight. Cut to 

Exterior. Another Street. Chase of MfcKim’s 
cab continues. Cut to 

Exterior. Fifth Avenue and Forty-second Street. 

Usual congestion. McKim’s taxi crosses the line 
just as the traffic policeman’s imperial gesture blocks 
the way to further passage of vehicles to east and 
west. Baffled, Edgerton looks out of his cab, to find 
that his quarry has eluded him. Fade to 

Interior. Mary McBirneys rooms. 

Mary and her brother James McBirney in close 
conference. After much talking James speaks 

“So you think you’ve solved the Hurlstone mys¬ 
tery, and that you and I stand good to get the reward 
of five thousand pounds. Give me the tip.” 

Mary talks emphatically, telling the story of Peter 
Kelly. Cut back to scene 17, Kelly in cage, Mary 
discovering the mark. Mary finishes story. McBirney 
impressed, speaks 



64 


PHOTOPLAYS 


Cut in 

Cut in 

Scene: 26 

Cut in 

Insert 

TETTER 

Cut in 
Scene 27 


“I say, Mary, that story of yours puts Sherlock 
Holmes out of his job. But where’s your man?” 

Mary registers perplexity, then she speaks 

“You’re a detective, aren’t you? It’s for you to 
find him.” 

McBirney registers determination. Gets up to 
leave. Fade out. 

Interior. Breakfast Room at Mrs Von Comp’s 
Mrs. Von Comp and Eudora at breakfast, opening 
and reading letters. At length Mrs Von Comp opens 
an envelope and draws therefrom a note and two 
greenback bills, reads note, then passes it over to 
Eudora, with the remark: 

“Well, your faith in our interesting tramp seems to 
to have been justifiable, Eudora.” 

Eudora reads letter. 

Dear Madam: 

Herewith I return the one hundred dollars 
that you so graciously loaned to me yesterday. I am not 
a criminal. The greatest crime I could conceive would be 
to abuse such generosity as yours. 

Most sincerely and respectfully yours, 

Peter Kelly. 

Eudora finishes reading, hands letter to mother and 
says 

“I feel that this is not the last we shall hear of Mr. 
Peter Kelly.” 

Interior. Reception room at Mrs. Von Comp’s. 
Mrs, Von Comp holding a brilliant reception. Guests 
arriving, greeting hostess, and separating into groups. 
Usual business marking such functions. Chester Von 
Comp comes through the crowd tx> the side of his 
aunt and cousin Eudora, accompanied by Dr. McKim. 
Introduces McKim. Usual greetings. Chester speaks 
to Mrs. Von Comp 




PHOTOPLAYS 


65 


Cut in 


Scene 28 


Cut in 
Scene 29 


Cut in 


Scene 30 


Cut in 


“I told Paul that I was going to drag him out of his 
hermiting habits to-night. Auntie, a finer chap never 
lived. Eudora, you and Paul should be great friends.” 

After a few words McKim and Chester melt into 
the crowd, leaving Eudora with a puzzled, distrait look 
upon her countenance. 

Interior. Another part of the Von Comp mansion. 

Dr. McKim looking about, as if in search of some¬ 
one. His face lightens all at once as he catches sight 
of Eudora chatting with a group of young persons. 
She, seeing McKim, excuses herself to her companions 
and comes up to him. Speaks 

“Oh, I am so warm here,—whjat with the dancing 
and all. Let’s cool off in the conservatory.” 

Interior. A hall in the Von Comp home. 

Mary McBirney talking confidentially with her bro¬ 
ther James McBirney, who has been delegated to do 
detective work at the reception. McBirney registers 
incredulity. Mary speaks 

“That man Peter Kelly is here. To-night he calls 
himself Dr. McKim, Mr. Chester’s chum, but his stage 
name is Peter Kelly, I tell you. His father, the Duke, 
was like that,—couldn’t be a gentleman all the time. 
Had a dual self, and used to break loose every now 
and then. We have the five thousand pounds cinched, 
Jim.” 

Interior. The Von Comp’s conservatory. 

McKim and Eudora sitting in a quiet corner, sur¬ 
rounded by shrubs and flowers. His eyes are full of 
passionate eloquence as he talks, while Eudora seems 
to be suffering from great emotional perturbation, as 
though doubt and longing were battling within her 
soul. Suddenly she interrupts what the Doctor is 
saying, with: 

“Haven’t we met before?” 

McKim leans forward eagerly as he speaks 



66 


PHOTOPLAYS 


Scene 31 


Ceose up 
Cut in 


Cut in 

Back to 
Scene 31 


Cut in 


“I believe I have known you and loved you ever 
since the world began.” 

Eudora glances up at him as though hypnotized, and 
is swaying toward him, when a light current of air 
from the open ventilator in the window near which 
they are sitting stirs the hair on McKim’s brow, and 
there, above his right temple, is revealed the mark she 
had seen on Peter Kelly the Tramp. Eudora recoils, 
springs to her feet, with staring eyes. Pain is plain 
in every gesture, every feature. With a harsh indraw¬ 
ing of the breath she turns to go away. Fade out. 

Interior. Dr. McKim’s room. 

Enter Dr. McKim in evening clothes. Takes off 
overcoat, which he hands to Plimpton his man, who 
is in attendance. The coat drops from Plimpton’s 
hands and out on the floor rolls a parcel tied up in a 
handkerchief, which Plimpton places on the table 
near which McKim takes a seat. Plimpton is dis¬ 
missed from the room. Then Dr. McKim rises, walks 
over to a mirror, in which is reflected his handsome 
person. Fade into. 

McKim standing before mirror, surveying himself 
critically. Speaks 

“What manner of man or beast are you that you 
frighten beautiful girls whom you love?” 

Looks questioningly at himself, lifts the hair from 
his brow, revealing the mark. Starts back. Speaks 

“My God! It must be this. But what can she know?” 

McKim goes toward table, sits down meditatively 
and looks at parcel that Plimpton had placed there. 
Unrolls the handkerchief and out comes a gorgeous 
string of pearls. Still meditating, McKim idly toys 
with the pearls. While doing so Plimpton enters. 
Speaks 

“There’s a detective downstairs, who says he must 
see you, Doctor.” 



PHOTOPLAYS 


67 


Cut in 


Cut in 


Cut in 

Back to 
Scene 5 

Scene 32 

Cut in 


Cut in 

Cut in 


McKim indicates that he will see the man. Exit 
Plimpton. Enter James McBirney. McKim rises, 
throwing the pearls carelessly upon the table. McBir¬ 
ney sees them. Speaks, 

“Well, Peter Kelly, so Pve caught you with th)e 
goods on?” 

McKim looks protestation, but McBirney interrupts 
anything the doctor may have to say, with 

“It’s all very well to be a gentleman burglar, but 
how would you like to be a duke?” 

McKim looks as if he thought himself in the pre¬ 
sence of a madman. Motions McBirney to a chair 
and asks him to explain himself. McBirney begins,— 

“More than thirty years ago, in the year 1889... . 

And also such other scenes as are necessary to illus¬ 
trate the story that McBirney is relating to the lost 
heir of Hurlstone. Fade to 

Same as Scene 31. 

McBirney finishes telling story to McKim, who reg¬ 
isters interest, speaks 

“You are quite entertaining, Mr. McBirney. How¬ 
ever, until I shall have further information on the 
subject, I fail to see how I can do otherwise than hold 
the matter in abeyance.” 

McBirney looks baffled, speaks 

“But how about the robbery of the pearls?” 

McKim laughs, throws the pearls across the table 
to the detective, saying: 

“Why, I know nothing about them, nor have I any 
use for such trinkets. Suppose you return them to 
the owner. No doubt you’ll win a good reward for 
your cleverness in having traced the gems so quickly.” 

The doctor’s bravado seems to stagger McBirney. 

He speaks 



68 


PHOTOPLAYS 


Cut in 

Cut in 

Scene 33. 

Scene 34. 

Cut in 

Scene 35 

Cut in 

Cut in 


“And what’s your price for handing over the swag?” 
McKim shrugs his shoulders, saying: 

“Your silence as to any connection between me and 
the Hurlstone mystery.” 

McBirney registers consent. 

Interior. Eudora Von Comp’s Boudoir. 

Eudora in, reclining in a chaise longue near a table 
on which is the telephone; she casts glances of inde¬ 
cision at the ’phone, which she at length takes in her 
hand with an air of determination, and calls a number. 

Interior. Dr. McKim’s Library. 

Enter Plimpton, who goes to ’phone, goes out, Dr. 
McKim enters, takes the receiver in his hand and 
registers delight, then speaks 

“Yes, Miss Von Comp, I shall be delighted to meet 
you there for tea this afternoon. .. .The Biltmore. ... 
Yes....half after four. ...Very important?... .Yes. 
I understand.” 

With a light-hearted air, McKim hangs up the re¬ 
ceiver. 

Interior. Tea Room at the Biltmore. 

At table in foreground Eudora and Dr. McKim in 
close conference. She is telling him something that 
is giving her much distress in the telling. She 
speaks 

“And so when I first met you, Dr. McKim, I was 
astonished to recognize you as Peter Kelly, as I 
thought; for the identifying mark was there. But 
the worst is yet to be told, Dr. McKim.” 

Eudora registers distress, then continues: 

“On the evening of the reception, I overheard a 
detective say to my Mother’s secretary that you and 
Peter Kelly were one, and that you had stolen a miss¬ 
ing pearl necklace.” 




PHOTOPLAYS 


69 


Cut in 

Cut in 


Cut in 

Cut in 


Cut in 
Scene 36. 


Dr. McKim springs to his feet. Speaks 

“Great Heiaven, Miss Von Comp,—Eudora,—do 
you believe that?” 

Eudora looks at McKim calmly, answering: 

“No, I do not. So far as I know, you might be 
Peter Kelly, but I am certain you did not steal the 
pearl necklace, for I was with Mrs. Seabury when the 
clasp broke and she wrapped the chain up in her hand¬ 
kerchief, went to the cloak room, and dropped the 
gems into the pocket of her wrap. That happened 
just before you went into the conservatory with me. 
The theft took place between the time you and I 
went in and came out of the conservatory.” 

McKim lays his hand caressingly upon the girl’s 
and looks his gratitude for her confidence and re¬ 
assurance before she speaks again: 

“I came to-day to warn you that the detective may 
swear out a warrant for your arrest.” 

McKim smiles at her reassuringly. Speaks 

“And I am quite sure that he will not, for I am not 
a thief, not even a gentleman burglar, and I certainly 
am not Peter Kelly; furthermore, I love you so 
well that I have no other desire in life than that youi 
trust me,—you must do so, Eudora,—until I am 
able to put into your hands evidence that will prove 
me honorable.” 

Eudora gazes deeply into the eyes of the Doctor. 
Speaks 

“I will trust you. And let’s now join Mother; she 
is waiting for me.” 

Interior. Corridor of the Biltmore. News stand. 

Before the news-stand stands a man, the very spirit 
and image of Dr. McKim. Enter Mrs. Von Comp, 
walks toward the man, greets him with 




70 


PHOTOPLAYS 


Cut in 

Cut in 

Scene 37. 

Cut in 

Cut in 

Cut in 

Cut in 

Cut in 


“Why Dr. McKim, what a surprise! I was to 
meet Eudora here.” 

As she speaks enter Eudora and Dr. McKim, who 
pause long enough to hear the man reply: 

“Mrs. Von C'omp, I am not Paul, though I have 
been known as Peter McKim. To you, however, I 
was once Peter Kelly, Tramp.” 

Before Mrs. Von Comp is able to recover from the 
surprise, the doubles are staring at each other as if 
each were looking at himself in a mirror. McKim 
speaks with Kelly, gives him his card, registers eager¬ 
ness to see him alone. Cut to 

Interior. Dr. McKim’s Study. 

McKim and Peter Kelly seated in interested con¬ 
ference. McKim speaks, after he seems to have 
finished a long recital, 

“And those are the facts as Detective McBirney 
recounted them to me.” 

Kelly registers interest, questions: 

“But how do you come by the name of McKim?” 

McKim answers: 

“I was brought up in London by Dr. Emanuel Mc¬ 
Kim., though I was not his son. And you?” 

Kelly replies: 

“I was reared in India by a Dr. George McKim, 
a chemist, but I was no child of his,—rather did he 
hate me.” 

McKim looks meditative for a while before he 
speaks 

“Since there are two of us identically built, and 
marked with the Hurlstone mark, let us leave the 
matter of decision as to the true claimant to the trus¬ 
tees of the Hurlstone estate. Are you willing to make 
the test?” 



Leader 
Scene 38. 


Cut in 


Cut in 

Cut in 


Cut in 


Scene 39 

Close up 


PHOTOPLAYS 


7i 


Kelly registers acquiescence as Diaphram closes. 

The Heir of Hurlstone 

Interior. A Room in Hurlstone Manor. 

Reverend James March (very old) and Beaufort 
March, trustees of the Hurlstone millions and acres, 
are seated as if in expectation of some epoch-making 
visit. Mr. March speaks 

“Our appointment is with James Malcomb Hercroft, 
third Duke of Hurlstone, Beaufort. Do you suppose 
it is another imposter ?” 

Before Beaufort has time to make reply, the door 
opens and the Butler announces: 

“His Grace, the Duke of Hurlstone.” 

As the Butler speaks Cut in enter Paul McKim 
and Peter Kelly, at whom the trustees gaze as though 
they were seeing double. McKim speaks 

“You are the grandfather and the uncle of one 
of us, gentlemen. Our desire is that you identify the 
son of the Duke of Hurlstone and of his Duchess 
Betty. We are in your hands.” 

The trustees confer, then Mr. March speaks 

“There is one unmistakable mark of identification 
that my daughter had placed upon the heir by a Lon¬ 
don surgeon, just after she learned that an illegitimate 
child of the late Duke bore the mark of the Hurlstones 
on his brow. The secret of this mark my daughter 
imparted to us on her deathbed. Will you gentlemen 
submit to a physical examination?” 

Interior. A Bedroom of the Manor. 

McKim and Kelly, bare to their waists, are under¬ 
going a scrutiny of their backs through a magnifying 
glass. 

McKim’s back, whereon, just below the right 
shoulder blade, appears a small cross, visible only 
through a magnifying glass. 



72 


PHOTOPLAYS 


Back to 
Scene 39 

Cut in 

Scene 40 

Cut in 


Scene 40 

Insert 

Card 

Scene 41 

Cut in 


The examination is over. Beaufort March brings 
his hand down upon McKim’s uncovered shoulder, 
with a resounding smack; speaks 

“Your grace Duke of Hurlstone, I am heartily glad 
to find my nephew at last.” 

McKim turns to greet his grandfather, Mr. March. 
Fade out. 

Exterior. Deck of Steamer. Crossing Atlantic. 

McKim and Kelly sitting in steamer chairs side by 
side. McKim speaks 

“After all, why should Paul McKim; disappear in 
the Duke of Hurlstone. You and I, Peter, are doubles, 
our profession is the same. Suppose you assume my 
identity. You are my brother, and I know that you 
will never be guilty of any act unworthy of the house 
from which you sprang. Do you consent?” 

With a grateful look Kelly places his hand within 
that of his half-brother as Diaphragm closes. 

Interior. The Von Comp’s Drawing room. 

Eudora in. Enter Butler with card, which he pre¬ 
sents to his young mistress. Eudora reads 

Mr. James. Malcomb Hercroet 

Eudora registers bewilderment, then indicates that 
she will receive the visitor. Exit Butler. After a 
moment enter Paul McKim. A glad look flashes from 
the man to the woman, and there is a rushing together 
of these two as Diaphragm closes. 

Interior. Automobile returning from wedding of 
Paul McKim (James Malcomb Hercroft) and Eudora. 

Close up of Bride and Groom in wedding array. 
Paul puts his arm about the girl. Speaks 

“I have a surprise for you, sweet. You think you 
are Mrs. James Malcomb Hercroft; but you are not.” 

Eudora’s eyes widen with bewilderment, whereup¬ 
on her husband hastens to reassure her with. 



PHOTOPLAYS 


73 


*UT IN 


“Oh, no; not that. You are not Mrs. Peter Kelly, 
—you’re only her Grace the Duchess of Hurlstone,— 
but always my queen.” 

Like a happy child, Eudora nestles close to her hus¬ 
band’s heart as Diaphragm Goes Down and Out. 







CHOCOLATE CHARLIE 



PRINCIPAL CHARACTERS 


Big Chief .New York Department Store Secret 

Service 

O’Maley ..Retired Secret Service Man 

Jacques Bennaire .Chemist 

Old Joe .Barber 

Pietro .Groceryman 

Dago Mike ..Pietro’s “Pal” 

Chocolate Charlie .Street Vendor of Sweets 

Cinnamon Davis .Crook, another of Dago Mike’s Pals 

Chocolate Dude .Son of Laz Morrits, Receiver of 

Stolen Silver 

Max Hillman .Stolen Silver Expert 


And Others 

O’Maley, old time Secret Service man, returns from Europe to 
New York on a temporary visit. Drops into the Secret Service 
headquarters to pay his respects. Finds Big Chief in a temper, 
raging because of the failure to solve some cases in hand, important 
of which is an East Side counterfeiting case. The Chief cordially 
greets O’Maley and invites him to take a hand in the case. 

O’Maley declines to use the records of the case, but takes some 
of the coins, which appear to be smeared with some sticky substance. 

The Chief expresses the opinion that this is due to the coins being 
issued to children of the East Side, where it is a common thing for 
the shopkeepers to give to them the so-called “suckers,”—a lump 
of candy on a stick. O’Maley notes the uniformity of the substance 
on the coins, but keeps this to himself. 

He takes the coins to his old friend, Jacques Bennaire, Chemist, 
has the substance removed and analyzed, and substantiates his be¬ 
lief that it is chocolate. Decides to take a superficial view of certain 
places of which he made notes from a list of suspects submitted to 
him by the Chief. 

Calls upon his old negro barber, Joe, who doctors him up to 
resemble a Dago. Wearing a pair of new squeaky shoes, and 
carrying a package in a newspaper and a paper shoe-box, he goes 
to a place called “Pietro’s Groceteria.” 


77 












78 


PHOTOPLAYS 


As he enters, children on the sidewalk jeer at him, imitate his 
walk, and the noise made by his shoes. 

The front room of Pietro’s place is a green grocery, and the rear 
room a small drinking place, with four small dirty tables. O’Maley 
buys from the woman in charge a package of cigarettes, tendering 
a dollar bill, and receiving the change in good money. Passes 
into the rear room, followed by the woman, who takes his order 
for a glass of Italian wine and a sandwich. 

Three other men are seated at a table in the dining room ,to 
whom he pays no attention. He recognizes one as Pietro, another 
as Dago Mike, whom he thought was in Sing Sing,—and a man 
whose face is familiar, but whom he cannot recall. O’Maley pays 
his score with a $2 bill and finds in the change a spurious quarter. 

He returns to the office of the Chemist, who at first fails to recog¬ 
nize him in his disguise. 

The word “Chocolate” in the Chemist’s report awakens O’Maley’s 
memory and identifies the third man at Pietro’s as a character he 
had previously known as a vendor of Chocolates, “Chocolate 
Charlie.” For a long time Chocolate Charlie had made the practice 
of pushing his cart to the corner of Nassau Street and Maiden 
Lane and thence to Broadway, where he locked the top of his cart 
and went away. 

On the following day at noon, disguised as before, O’Maley goes 
to Nassau Street and Maiden Lane and follows “Chocolate Charlie” 
during his hour, but he sees nothing suspicious. He only calls his 
wares: “Chocolates! Chocolates!” and at the stroke of one o’clock 
closes. O’Maley trails him to Pietro’s. 

O’Maley returns to Old Joe and removes his disguise. As he 
emerges from the barber shop, he espies one Cinnamon Davis, an 
old-time East-Side crook, and go between, just released from Sing 
Sing| Surprised at seeing Cinnamon at liberty, O’Maley follows 
him and sees him receive a small bag from a young dandy wearing 
a chocolate-colored suit. Deciding it would be easier to again 
locate Cinnamon, because he is a pal of Dago Mike, O’Maley shad¬ 
ows the young man as a new element in the case. 

He trails him to the pawn-shop of old Laz Morritz on John 
Street, a notorious fence for stolen silver. 

O’Maley slips into another nearby pawn-shop kept by Max Hill¬ 
man, an expert on stolen silver, who greets him cordially as an old 
friend. Hillman tells him the young man is the son of Laz Morritz, 



PHOTOPLAYS 


79 


and is engaged in the dangerous business of disposing of a large 
quantity of silver in which, is a strange alloy making it easy to 
identify and hazardous to sell. He admits having acted as the pur¬ 
chasing agent for Laz Morritz in the buying of the silver in 
question, without knowing its identity. He later learned it was 
the proceeds of the celebrated Sixty-Ninth, street silver robbery by 
Cinnamon Davis. Laz Morritz melted the silver into ingots to dis¬ 
guise it, and the peculiar alloy tainted the lot. 

Hillman is especially afraid of Cinnamon Davis. O’Maley prom¬ 
ises to protect Hillman and to land the others on another charge, 
so that he will not be drawn into the case. Then Hillman gives 
O’Maley a sample of the silver which he later has analyzed, and 
he finds it identical with the metal in the spurious coins. 

While in Hillman’s shop, O’Maley sees him admit a man with 
a watch and chain for sale. Hillman pulls the movement out of the 
case and casts it into a box with many others; tests the case and 
the chain with file and acid, and hands the man some money. He 
then drops the case into a mortar and pounds it into' an unrecogniz¬ 
able mass. A common method of disposing of spurious articles. 

Upon leaving the pawn-shop, O’Maley sees the Chocolate Dude 
come out of his father’s place and walk rapidly away, finally going 
to Pietro’s place. Remaining on watch, O’Maley sees enter the 
place Dago Mike and Cinnamon Davis, and later Chocolate Charlie 
pushes his cart into a narrow area by the grocery, and himself 
enters. 

O’Maley is greatly comforted that he has thus linked the prin¬ 
cipals, but he has not yet discovered the place where the coins are 
made, nor has he fully established the method of first distribution. 

He sees Chocolate Charlie come out, take his cart, and push it 
toward the Ghetto. O’Mialey trails him into a small house, where he 
pushes his cart into the rear, lifts out its contents, and carries them 
into the side door. He has a package wrapped in a newspaper 
which O’Maley had not seen in his cart at the noon hour. This, he 
concludes, contains the new silver delivered to Cinnamon by the 
Chocolate Dude. 

O’Maley also observes that the small ground-floor room of the 
adjoining building is occupied as a candy shop, the most conspicuous 
sign being “Chocolates.” 

The next morning O’Maley procures from the health officer an 
order to inspect candy shops in the Ghetto. Going to the place, 



8o 


PHOTOPLAYS 


O’Maley waits until he sees Charlie push the cart away, then he 
enters the candy shop. 

In the cellar he finds a door between the two buildings and other 
evidence of connection sufficient to justify the belief that he has 
located the place where the spurious coins are made. 

After leaving the shop O’Maley watches and sees the woman in 
charge hastily close, lock the door, and rush away to Nassau Street 
and Maiden Lane to inform Chocolate Charlie, who also closes up 
his cart, and they both go directly to Pietro’s place. O’Maley calls 
on the Big Chief, and asks for six outside men who have never 
been attached to the case. 

Fear keeps Chocolate Charlie off the street for several days. On 
the fifth day he again makes his appearance, and O’Maley sees 
Dago Mike and Cinnamon Davis both buy boxes of chocolates, and 
he also observes that Charlie calls his wares differently. At a 
given point he calls: “Chocolates!” and ordinary sales are made. 
He then calls: “Chocolates! Fresh made Chocolates!” and Dago 
Mike and Cinnamon make their purchases. 

O’Maley is now ready to draw in his net. On the following day 
he assembles his men, and they trail Chocolate Charlie in taxi-cabs. 

They hear his call: “Chocolates” and see a bunch of girls buy 
“Wafers” which he picks up from a flat board with a candy shovel. 
At his next stop he calls: “Chocolates! Fresh made Chocolates!” 
and Dago Mike quickly steps to the cart and is handed a small box 
marked “Chocolate Wafers.” He only walks a short distance down 
Maiden Lane, when two other pedestrians insist upon his riding 
with them. Shortly thereafter Cinnamon Davis receives a similar 
box, and is permitted to pass up Maiden Lane until he meets the 
Chocolate Dude. Before the Dude can transfer to him the small 
bag which he carries, they are both grabbed and caught with the 
goods on them. 

O’Maley, acting as his own chauffeur, hooks his hub into the 
wheel of Charlie’s cart and turns it topsy-turvy, giving the police 
officers an excuse to arrest both for disturbing the peace. They are 
all taken to the Chief’s office. Charlie, Dago Mike, Cinnamon 
Davis and the Chocolate Dude are thus apprehended. 

O’Maley sends two men to get Pietro, while he and his other 
men make a hurry call upon the lady of the candy shop, who is 
Charlie’s wife. With the keys taken from Charlie’s pocket, they 
open the door leading into the adjoining cellar, where they find 




PHOTOPLAYS 


81 


coins, metals, molds, and two hundred spurious quarters freshly 
dipped in chocolate, converting them into chocolate wafers. 

O’Maley takes all these together with the woman, leaves a guard 
at the place, and returns to the Chiefs office. The push-cart, on 
being examined, is found to contain other boxes of “silver chocolate 
wafers.” All the coins found are identical in metal with the sample 
of silver that O’Maley has had analyzed and with that found in 
the bag carried by the Chocolate Dude. 

O’Maley reminds the Chief that there is also a reward for clear- 
ing up the silver robbery mystery, and is assured by the Chief 
that both rewards will be paid him, and there is sufficient evidence 
to convict without his being made conspicuous in the case. 


























' 













































































































































PHOTOPLAYS 


83 


Sub-title 


Scene i 


Cut in 


Sub-title 


Cut in 


Cut in 


CONTINUITY 

Two important cases had been bungled by oper¬ 
atives sent from Washington,—One an East-Side 
Counterfeiting Case and the other a Big Silver Rob¬ 
bery. The Secret Service Chief in New York, was 
in a rage and ready to quit his job. 

Interior. Chief’s office 

Chief, sitting at desk. Worried and fretting over 
records before him. Arises, walks about office, ges¬ 
ticulating and talking to himself. Attention is at¬ 
tracted to telephone; hesitates, then impatiently picks 
up the receiver, saying: 

Didn’t I tell you I would see no one ? Who ? Oh! 
I’ll see him.” 

Chief gently puts down the receiver with a smile 
of satisfaction. 

O’Maley Retired Secret Service Man 

Enter O’Maley,— a sturdy man of fifty, with well 
trimmed gray hair, stubby moustache, ruddy face 
with kindly eyes, but quite cool and self contained. 
He resembles a Middle-West business man. The Chief 
cordially greets him with 

“Come in O’Maley. I am so glad to see you I could 
hug you. Of all men you are the one I most desire 
to see.” 

The Chief invites O’Maley to a seat, and pushes a 
box of cigars toward him. O’Maley takes a cigar, 
and the Chief lights a match and holds it to the end 
of the cigar until lighted. They speak 

“What’s this big noise all about, Chief?” 

“First, is this a social call O’Maley, or have you 
something on your mind.” 

“Oh, I just thought I’d drop in and say howdy.” 

“Then there surely is something in telepathy, for I 




8 4 


PHOTOPLAYS 


Insert 

Letter 


Cut in 


Semi ceose 
up 


Cut in 


Cut in 


Cut in 


have wanted you badly for twenty-four hours Jto help 
me in this infernal counterfeiting case. Read that!” 

The Chief folds a letter to a clause that he desires 
O’Maley to read, and hands it to him. 

These coins are increasing in volume and are of so 
with a metal box partly filled with spurious coins, 

This cannot continue. The case lias been pending 
for two years. If something is not done immediately, 
a rigid investigation must be made. 

O’Maley reads the letter, hands it back to the Chief 
and nods his head. Chief says: 

‘‘Why, O’Maley, these coins come out as regularly 
as the morning newspapers, and I’m blimmed if I 
don’t believe they are putting out an afternoon edi¬ 
tion.” 

The Chief arises, goes to the office safe and returns 
perfect a character they have unchallenged circulation, 
which he places before O’Maley. O’maley runs his 
hand into the box, permitting the coins to slip through 
his fiingers. He casts one down upon the desk to get 
the metallic ring. Speaks 

“A pretty piece of work, Chief.” 

The Chief nods acquiescence. O’Maley runs his 
fiingernail around the rim on the outer edge of a coin 
and picks at the milled edge; rubs it between thumb 
and finger, and smells of it, saying: 

“How do you account for their being sticky and 
soiled, Chief?” 

The Chief looks thoughtful, then replies: 

“On the East Side, where they are put in circulation, 
it is a common practice for the shopkeeper to give 
to the children the so-called candy suckers and their 
change.” 

A row of dirty kids each with a stick on the end 
of which is a lump of candy. 


Feash 



PHOTOPLAYS 


85 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 
Scene 2 


Scene 3 


O’Maley with a lurking smile about his mouth, 
draws the box of coins closer to him. The Chief 
says: 

O’Maley, why don’t you take this case and get 
the $5000 reward offered? You can give up your 
play in Paris for a while.” 

O’Maley is selecting some of the coins from the box, 
and the Chief is intently watching him. O’Maley 
speaks 

“If I should take it, would you call off all the oper¬ 
atives now on the case?” 

The Chief nods assent, rises, and begins to gather 
the records, pushing them toward O’Maley, saying: 

“Take these, and get a line on the case.” 

O’Maley pushes the papers away, and holds up a 
handful of the coins, intimating he wants to take them. 
The Chief nods, and O’Maley places them in an en¬ 
velope and drops them in his pocket, saying: 

“May I see your list of suspects?” 

The Chief hands him a sheet of paper, from which 
O’Maley makes notes. After a few moments’ con¬ 
versation, O’Maley arises, shakes hands with the Chief, 
and takes his departure. 

After O’Maley leaves, the Chief is in a gleeful 
state of mind. Picking up the Washington letter, he 
strikes it with the back of his hand, saying: 

“I’ll show you Washington fellows that you don’t 
know it all yet.” 

Interior. Hallway of building, with stairway and 
door showing. 

O’Maley mounting stairs; stops at door marked 
“Jacques Bennaire, Chemist.” 

Interior. Laboratory of Bennaire, Chemist. 

Bennaire in, at work. O’Maley enters and is cordi- 



86 


PHOTOPLAYS 


Cut in 


Scene 4 

Scene 5 


Cut in 


Scene 6 


ally greeted by the professional little man, with fierce 
moustache and pointed goatee, wearing a skull cap. 
O’Maley pours out upon the desk from the envelope 
the coins. They seat themselves and discuss them. 
The Chemist picks up a coin, weighs it first in his hand, 
then on a scales; examining it carefully, scrapes it 
with a small instrument, smells it, and looks at 
O’Maley. O’Maley picks up one coin after another, 
draws attention to the substance about the rim and in 
the milled edge of the coins. The Chemist picks up 
a sheet of paper and begins scraping the substance 
off the coins, letting it drop upon the paper, saying: 

“Very uniform; hardly necessary to analyze it, but 
I suppose you want it official for future use? I will 
have a report for you at four o’clock.” 

O’Maley nods assent and arises; the chemist politely 
accompanying him to the door. Out and into. 

Exterior. Street showing barber shop. 

O’Maley passing down into a basement barber shop. 
Cut to 

Interior. Basement passageway. 

O’Maley stops at entrance and motions to an old 
grizzled negro barber, Old Joe, who comes to the 
door and throws up his hands in exaggerated sur¬ 
prise, saying: 

“Lo-o’d o’ Mussy! Mistah O’Maley, yo’ shoah 
done sca’d dis niggah plum white. Whah yo’-all 
been ?” 

O’Maley whispers to old Joe, who looks mysterious 
and important, and motions toward a door in the rear 
which O’Maley enters, the barber soon following. 

Interior. Roor in rear of Old Joe’s barber shop. 

O’Maley and Old Joe in. Old Joe goes through the 
work of disguising O’Maley,-clips his hair close, colors 
his moustache and eyebrows, and stains his face, neck, 
and hands. He also calls the shop boy. O’Maley gives 




PHOTOPLAYS 


87 


Cut in 

Cut in 

Sub-title 
Scene 7 

Semi close 
up 

Cut in 

Close up 
Scene 8 


him some money and he goes out, returning with a 
paper shoe-box in which there is a pair of shoes. 
O’Maley takes off his shoes and puts on the clumsy 
new ones, putting his old ones in the box. Old Joe 
rolls up a bundle of newspapers, and ties it with a cord. 
O’Maley heel-and-toes it around the room, both he and 
Old Joe laughing heartily at the clumsy new shoes, 
which squeak loudly. O’Maley speaks 

“They talk pretty loud, Joe.” 

Joe answers: 

“Yes’sa, but noboddy kin understan’ what they is 
sayin’ ?” 

Joe opens a door leading out into the hall, and 
obsequiously bids O’Maley good-bye, saying: 

“Yoah own mammy wouldn’t rec’nize y’u. I wish 
yo’all success.” 

Amid the elotsam and jetsam oe the East 

Side,— a blot upon civilization. 

Exterior. A street in the Ghetto. 

O’Maley, with his packages beneath his arm, is seen 
trudging slowly along, picking his way through the 
throng of men, women, and children of every nation¬ 
ality. 

O’Maley steps in front of a shop with sign: “Pietro’s 
Groceteria,” and looks inquiringly at it. A squad of 
dirty children are trailing him, imitating his gait and 
the squeak of his shoes. He turns angrily toward 
them saying: 

“Oh, if shoes could talk, what they would say to 
you dirty brats.” 

O’Maley enters the grocery. 

Interior. The usual East-Side shop. 

An Italian woman is serving customers. O’Maley 
awaits at a case containing smoking articles, shifts his 



88 


PHOTOPLAYS 


Scene 9 


Sub-title 


Semi close 
up 


bundles and looks into the show-case. The woman 
glides behind the case, and pleasantly asks him what 
he wants. O’Maley looks into the the case, points, 
and she takes from the case a package of cigarettes 
and hands them to him. He tenders her a one-dollar 
bill, and she gives him change. He asks her a ques¬ 
tion and she points toward the rear of the store. The 
woman takes from a case a sandwich and pours from 
a bottle a half glass of red wine, then slyly places it 
under a spiggot and fills it with water, and passes into 
the rear room. O’Maley also goes to rear room as 
Diaphragm closes. 

Interior. Dingy rear room of Pietro’s shop, con¬ 
taining four small tables. 

O’Maley enters the rear room from the grocery. At 
one table three typical East-Side characters are 
seated, with heads close together in confidential con¬ 
versation. To them O’Maley pays no attention, but 
shufflles to another table, casts his package upon it, 
and seats himself. Draws from his pocket a large 
red handkerchief, mops his brow, and heaves a deep 
sigh of relief. The Italian woman, who has entered 
serves his order, and he hands to her a two-dollar bill. 
She takes from her pocket a handful of silver, and 
pokes about with her finger apparently to find the right 
coins for the change. One of the men at the other table 
is slyly watching her as she places the change upon the 
table. O’Maley looks up, smiles, thanks her, and in¬ 
differently places the change in his pocket. 

O’Maley's Adams apple nearly jumped out oe 
his mouth as he observes a spurious quarter in 

HIS CHANGE. 

O’Maley drains his glass; pushes his chair away 
from the table; wipes his mouth with his red handker¬ 
chief ; heaves a sigh of satisfaction; arises, picks up 
his bundles, and shuffles out, apparently arousing no 
suspicion. 



PHOTOPLAYS 


SUB-TITLE 

Scene io 


Cut in 


Insert 

paper 


Cut Back 
Sub-title 


Back to 
Scene io 

Scene ii 


89 


O’Maley had recognized the men in the room 
as Pietro, Dago Mike, and a familiar face that 

HE COULD NOT PLACE. 

Interior. Same as Scene 3. 

The Chemist at his desk. Raises his head as though 
in response to a knock at the door. O’Maley enters, 
and the Chemist appears greatly surprised, not recog¬ 
nizing him. O’Maley addresses the Chemist, who re¬ 
plies : 

“Rest? This is not a rest room. The sun parlor 
is on the roof. Take the elevator.” 

O’Maley in a roaring fit of laughter and the Chem¬ 
ist sheepishly gaping at him. He then recognizes 
O’Maley; who seats himself, and makes note in a small 
book, while the Chemist brings the coins and report. 

Bennaire returns to O’Maley, looks down at him, 
and hands him the coins in an envelope and a small 
sheet of paper. O’Maley takes the coins in one hand 
and the paper in the other and looks at it. 

Chocolate 

O’Maley wags his head. Suddenly he gives a start 
and stares intently at the paper, taps his head with 
the end of his finger and smiles. Flash 

Scene in rear room at Pietro’s. 

The word “Chocolate’’ revives in the memory 
of O’Maley a character he has previously 
known. Chocolate Charlie, vendor of choco¬ 
lates, plying between Nassau Street and Maiden 
Lane each noon hour. 

O’Maley looks at his watch, arises, bids good-bye 
to Bennaire, and departs. 

Exterior. Corner Nassau Street and Maiden 
Lane, New York. 

O’Maley, disguised as before, awaits appearance 
of Chocolate Charlie. Chocolate Charlie pushing a 




90 


PHOTOPLAYS 


Cut in 


Sub-title. 


Scene i 2 


Sub-title. 


Scene 13 


Scene 14 


covered cart. Arrives at comer and begins to solicit. 
Speaks 

“Chocolates! Chocolates!” 

Charlie pushes his cart up Maiden Lane, from time 
to time stopping and crying his wares. O’Maley fol¬ 
lows, watching him closely. Nothing suspicious oc¬ 
curs. O’Maley shows disappointment upon seeing 
Charlie close and lock his cart at Broadway, and push 
it back down Maiden Lane. He trails him as Dia¬ 
phragm closes. 

As O’Maley emerged erom Old Joe’s basement 
he recognized on the street Cinnamon Davis, 
notorious East-Side crook and go-between-man, 
just out of Sing Sing, a pal of Dago Mike’s and 
Pietro’s. 

Exterior. Street, showing Broadway. 

O’Maley trailing Cinnamon Davis, sees him duck 
into doorway, and come right out again with a small 
satchel in his hand. He observes young man from 
whom Cinnamon had received the satchel. 

O’Maley decides he can locate Cinnamon, 

THEREFORE DECIDES HE WILL TRAIL AND IDENTIFY THE 
NEW CHARACTER. 

Exterior. Pawn shop. Another Pawnbroker’s 
place in. On the winlow is the name “L. Morritz & 
Son.” 

O’Maley and the man he is trailing come along. 
Man enters Morritz Shop. 

O’Maley passes up to another pawn-shop, on the 
window of which is the name “M. Hillman, Money 
Broker.” 

Interior. Pawn Shop of Hillman. 

O’Maley enters. Bearded old man with large rim¬ 
med glasses standing behind showcase examining a 
watch. ‘ Observes O’Maley, comes from behind the 
case, greets him, shakes hands, saying: 



PHOTOPLAYS 


9i 


Cut in 

Cut in 


Close up 
Cut in 

Cut in 

Cut in 

Cut in 


“Why, howd’y-do, Mr. O’Maley? You have been 
away a long time. I have more than once wished 
you were here to advise me, Mr. 0 , Maley. ,, 

Hillman goes to the street door and locks it, then 
leads the way and invites O’Maley into his rear office. 
Max declines. 

They talk: 

“Anything special on your mind, Mr. O’Maley ?” 

“No-o, nothng in particular, but I was asked a ques¬ 
tion about that old Sixty-ninth street silver robbery, 
which I cannot answer. What became of the great 
quantity that was not recovered, Max?” 

“Cinnamon Davis served time for stealing it after 
it was in the possession of the police.” 

“I saw Cinnamon to-day.” 

“He’s out gunning for the man that betrayed him.” 

“And who is that?” 

The broker leans over and whispers something to 
O’Maley, who expresses surprise, then Hillman asks: 

“What kind of a looking chap is he?” 

O’Maley smiles, and nods his head wisely. Hillman 
speaks 

“I bought the silver for old Laz Morritz without 
knowing its identity. Now, Pm at his mercy.” 

O’Maley looks seriously at Max, slowly nods his 
head, and compresses his lips as he asks: 

“How are they disposing of it?” 

Max hesitates, then answers: 

“The son is doing something with it. There is a 
peculiar alloy in it that makes it dangerous to handle.” 

Hillman takes from a drawer a piece of metal that 
O’Maley examines carefully, speaks to Hillman, who 
nods acquiescence, then O’Maley places it in his 
pocket. Their attention is attracted toward the door. 



92 


PHOTOPLAYS 


Cut in 

Cut in 


Scene 15 


Scene 16 


Scene 17 


O’Maley watches Hillman peep out, then open the 
door, admitting a typical thief who cautiously draws 
from his pocket a watch and chain and Hands it to 
Hillman, who takes a pair of plyers and wrenches its 
movement from the case, casting it into a box among 
many others. He tests the case and chain by file and 
acid, and hands the man some money. The man hesi¬ 
tates about going, and Hillman quickly detaches the 
case from the chain, drops it into a mortar and pounds 
it into an unrecognizable mass, then lets the man out. 
Hillman returns to O’Maley, who is standing ready 
to go, says: 

“I’m afraid of Cinnamon Davis, Mr. O’Maley.” 

O’Maley reassures the broker, saying: 

‘Til take care of the whole bunch,—and I’ll protect 
you.” 

O’Maley shakes hands with Hillman and bids him 
good-bye. 

Exterior. Same as Scene 13. 

As O’Maley approaches the shop of L. Morritz 
& Son, he observes come out the young son whom he 
had followed. The son increases his gait, and O’Maley 
trails him as Diaphragm slowly closes. 

Exterior. Same as Scene 7. Showing exterior 
Pietro’s shop. 

O’Maley in; takes a position to watch the place. 
Soon Dago Mike enters, then Cinnamon Davis. 
“Chocolate Charlie” pushes his cart into an areaway 
and also enters Pietro’s place. Soon reappearing, 
Charlie removes a package from beneath his coat and 
places it in his cart and pushes the cart down the 
street. 

O’Maley trailing him. Fade out and into 

Exterior. A rear door on a shabby street, show¬ 
ing the ground floor room of the adjoining house, a 
candy shop. On the window is lettered “Chocolates.” 



PHOTOPLAYS 


93 


Scene 18 


Cut in 


Cut in 


Scene 19 


Scene 20 


Scene 21. 


Scene 22 


O’Maley trails Chocolate Charlie, who pushes his 
cart to rear door. Takes out contents, including pack¬ 
age. Iris out. 

Interior. Office of the Health officer. 

Officer in. Enter O’Maley, they shake hands. 
O’Maley speaks 

“Doc, I want an order to inspect candy shops in 
the ghetto.” 

The Doctor answers: 

“Sure, O’Maley, Must be a sweet case you have.” 

O’Maley nodding his head; the doctor smiling and in¬ 
structing clerk to make out the order. O’Maley re¬ 
ceives the order and a badge, thanks the doctor, and 
passes out. 

Same as Scene 15. 

O’Maley waiting. Charlie comes out and pushes his 
cart up the street. O’Maley enters candy shop. Cut 
to 


Interior. Small candy shop. 

O’Maley enters store. Italian woman in charge. 
O’Maley shows her his badge, and she attempts to 
argue with him. He lifts movable end of counter and 
motions for her to lead the into a rear room. Out 
and into 

Interior. Kitchen of Candy Shop. 

Woman and O’Maley enter. O’Maley points to a 
door leading to basement; the woman much worried 
and scared. O’Maley points to front, and the woman 
goes forward and locks the door, and returns. O’Maley 
draws a searchlight, points to cellarway and 
she leads the way down the stairs as Diaphragm 
goes down. 

Exterior. Basement piled with boxes and rub¬ 
bish, with narrow way open leading to door between 
the two houses. 



94 


PHOTOPLAYS 


Scene 23 


Scene 24 


Cut in 


Scene 25 


Scene 26 


Cut in 


Woman and O’Maley enter. O’Maley questions her, 
examines the door, and they return to the upper floor. 
Dies out. 

Same as Scene 14. 

O’Maley at distance, watching the shop. Woman 
comes out of shop, locks the door and walks rapidly 
away. O’Maley trails her. Fade out. 

Exterior. Same as Scene ii 

Chocolate Charlie pushing his cart on Maiden Lane, 
stops and calls: 

“Chocolates! Chocolates I” 

Woman approaches pretends to buy chocolates and 
talks to Charlie, then leaves. Charlie quickly closes 
his cart, turns about, and pushes it rapidly down the 
street, the woman again joining him. O’Maley trail¬ 
ing them. 

Same as Scene i. 

O’Maley and Chief standing conversing. Six men 
are ushered in and introduced to O’Maley. After 
a brief talk, O’Maley leaves and the men, two at a 
time, pass out. 

Exterior. Extended Street scene. 

Several taxi-cabs in view. O’Maley, disguised as a 
Dago, is driving the first one. Chocolate Charlie is 
seen on Maiden Lane. Two big policemen are near 
by. Crowds passing along street. Charlie cries: 

“Chocolates! Fresh Made Chocolates!” 

Dago Mike enters, sidles up, buys a box of choco¬ 
lates, and starts down the street. Two detectives 
seize Dago Mike and hustle him into a taxicab, and 
hurry away. Cinnamon Davis purchases a box of 
Chocolates and passes up Maiden Lane, where he 
meets the Chocolate Dude. Before the Dude can pass 
the satchel to Cinnamon they are both seized by of¬ 
ficers, thrust into a taxi-cab, and whirled away. 



PHOTOPLAYS 


95 


Scene 27 


Scene 28 


Scene 29 


Scene 30 


Scene 31 


Scene 32 


O’Maley draws his cab close up to Chocolate Charlie’s 
cart, hitches his hub into the cart-wheel, and turns 
it over. Great commotion. O’Maley and Charlie 
gesticulating and excitedly talking to each other; the 
police keeping the crowd away. Charlie and O’Maley’s 
assistant gather up the scattered chocolates. The po¬ 
lice arrest O’Maley and Chocolate Charlie. 

Exterior. Front of public building. 

The first taxi-cabs unloading their men before the 
others come. 

The Police appear with O’Maley and Charlie, push¬ 
ing the cart, and still angrily talking. They enter the 
building, lifting the cart inside. 

Exterior. Same as Scene 16. 

Taxi-cab draws up in front of Pietro’s place, two 
men enter and soon return with Pietro, angrily ges¬ 
ticulating. They thrust him in the cab and drive 
away. 

Exterior. Same as Scene 15. 

Taxis draw up before candy shop. O’Maley and 
four men alight and enter the shop, one soon bring¬ 
ing out the woman in charge, then he remains on 
guard. O’Maley and the other three pass into the 
house. Cut to 

Interior. Same as Scene 21. 

O’Maley and three other men enter, go to the par¬ 
tition door and open it with a key taken from Charlie. 
They pass into doorway. 

Interior. Cellar room. A broad table with surface 
covered with chocolate wafers, a pot of chocolate, 
chocolate boxes, dies, moulds, electric furnaces, mill¬ 
ing machine and raw silver ingots. 

O’Maley and three men in. O’Maley places the 
chocolate wafers in boxes, makes a package of the 
silver, gathers up the dies, moulds and other articles. 
Goes out with men as Diaphragm closes. 

Exterior. Public Building; Secret Service offices. 

O’Maley arriving at building in taxi; alights with 



96 

PHOTOPLAYS 

Scene 33 

woman; he and his men carrying packages. He pushes 
the woman before him as he enters the building. Cut 
TO 

Interior. Same as Scene i. 

Big Chief in. O’Maley enters office with the pack¬ 
ages, opens a box of chocolates, approaches the Chief, 
extends the box towards him saying: 

Cut in 

“Have a fresh made chocolate wafer, C,hief.” 
Chief bites into wafer and exhibits distress feeling 
of his teeth. He scrapes the chocolate off, and dis¬ 
covers inside a new silver quarter. Chief speaks: 

Cut in 

“All right, old chap; I’ll see to it that you get the re¬ 
ward in both cases.” 

Chief congratulating O’Maley. Fade out. 



THE DUMMY NECKLACE 









PRINCIPAL CHARACTERS 


Horace Bindley ... 

Chandler Barstow 

Madame Grassilli 

O’MalEy. 

Julia. 

Marie Helmig 

Otto Helmig . 

Morris Brossard .. 
David Brossard 
Casper . 


.Rich, Self-made Banker, in Love 
With Beautiful Opera Singer 
.Bindley’s Best Friend, Belonging 
to the Idle Rich Class 
.Popular Opera Star, Bindley’s Lady 
Love 

A Retired Secret Service Man 
.O’Maley’s Fourteen-year-old daugh¬ 
ter 

.Chaperon to Julia 
.Brother to Marie 
.Gem Expert, New York 
.Brother to Morris Brossard, Paris 
Club Attendant 


SYNOPSIS 

Horace Bindley, a self-made, bachelor banker of forty-eight, de¬ 
cides to indulge himself in some secret entertainment. He ad¬ 
dresses his attentions to Madame Grassilli, Grand Opera Star, sing¬ 
ing at the Metropolitan Opera House in New York. He is deeply 
humilitated to find that his personality holds no charm for the 
lady and he determines to buy her favors. She banteringly declares 
that her price is an emerald necklace that she had seen displayed 
in the show window of a jeweler in Paris, the price of which in 
Paris is sixty thousand dollars. The necklace, once owned by a 
princess, has an historical value, which puts in dispute the valuation 
for customs duty to bring it into the United States, encumbering its 
sale to some rich American, the duty being estimated at forty thous¬ 
and dollars. Horace Bindley secretly is willing to buy the necklace 
at the Paris price, but is unwilling to pay an extortionate duty. He 
seeks the advice of his best friend Chandler Barstow, who offers 
to procure and deliver to him the necklace for sixty thousand dol¬ 
lars, plus five thousand dollars for expenses. Horace Bindley ac¬ 
cepts his friend’s offer, and deposits to Barstow’s order sixty-five 
thousand dollars. Chandler Barstow sends for the well-known gem 
expert, Morris Brossard, whom he consults regarding the neck¬ 
lace. Brossard informs him that his brother, David Brossard, in 

99 












IOO 


PHOTOPLAYS 


Paris, is the owner of the necklace, and agrees to aid Bar stow in 
bringing it over, advising him what course to pursue. Barstow 
sends for a retired Secret Service man, O’Maley, and proposes to 
pay the expenses of himself and daughter Julia O’Maley, on a trip 
to Paris, providing they chaperon his old maid aunt, Chesalie Bar¬ 
stow. O’Maley accepts the proposition. Chandler Barstow calls 
upon his friend Otto Helmig, to make a proposal that he permit 
his sister, Marie Helmig, to impersonate his Aunt Chesalie, and 
make this trip to Paris. Marie had long been a traveling companion 
to Barstow’s Mother. Marie accepts the proposal. 

Morris Brossard instructs his brother David to prepare a dummy 
necklace to display in his shop window while he is dismounting the 
real gems, and inserting them in forty specially made brass buttons, 
to be put on a red coat, which is to be purchased by Marie Helmig, 
as a present to Julia O’Maley, in Paris. 

In the meantime Morris Brossard also prepares a dummy neck¬ 
lace, and delivers it to Chandler Barstow. After Morris Brossard 
receives and remounts the genuine gems, Barstow, on Morris Bros- 
sard’s advice, delivers to Horace Bindley the dummy necklace. 

Brossard knows that the custom’s officials will miss the neck¬ 
lace, if wholly removed from the Paris window, and will immedi¬ 
ately be informed upon their appearing on Madame Grassilli’s neck. 
If they seize the dummy necklace and find it spurious, they will 
cable to Paris, and the agent will reply that the necklace is still on 
exhibition in David Brossard’s window. 

Barstow, delivers the dummy necklace to Horace Bindley, and 
sees him place it about Madame Grassilli’s neck, both believing 
it to be genuine. 

Bindley attends the opera that evening and gloats over Madame, 
who wears the dummy necklace. After the opera the Manager and 
officers, with an expert, call at Madame Grassilli’s dressing room 
and demand to examine the necklace, pronouncing it a dummy made 
of glass. 

Bindley had arranged a smart supper for the two after the opera, 
and he awaits Madame at the stage door. 

Madame is in an indignant rage because of his having placed her 
in such a humiliating position, and sends him: an insulting note 
declining to accompany him. He, not being aware of the cause of 
her anger, seeks the advice of his friend Chandler Barstow, who 
takes it upon himself to straighten out the trouble. 



PHOTOPLAYS 


IOI 


Barstow first gets in touch with Brossard, then he calls upon 
Madame Grassilli at her apartment in the Metropolitan Annex. 
He assures her it is all a mistake, and persuades her to keep her 
supper engagement with Bindley, also assuring her that he will 
have a well-known gem expert come and determine whether she 
possesses a genuine or a dummy necklace. He accompanies her 
to where Bindley is waiting, then calls up Bossard, asking him to 
come. 

Brossard comes, examines the necklace and offers sixty thousand 
dollars for it,—and peace prevails. He simply switched the genuine 
for the dummy, and not a living soul knew the truth but himself, 
his brother David, and Chandler Barstow. 

























































































































































































































































































































































































































































































PHOTOPLAYS 


103 


Leader 

Scene i 


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CONTINUITY 

Horace Bindley, unsuccessful in his atten¬ 
tions to Madame Grassilli, seeks the advice of 

HIS BEST FRIEND. 

Interior. Club lounging room. 

Chandler Barstow seated in secluded corner, read¬ 
ing magazine. His lanky legs are crossed, and he is 
dangling his big spatted foot up and down. Screwed 
in his eye is a monocle attached to a cord. Enter 
Horace Bindley, pompous, self-important, debilitated, 
and personally unattractive. Looking about the room 
he espies the dangling foot, hastily approaches his 
friend, makes an impatient gesture, and exclaims: 

“For goodness sake, Chandler, put down that foot! 
You make me nervous.” 

Chandler looks up, brings down his foot, his mon¬ 
ocle drops out of his eye, and he speaks 

“My word! You need a nerve specialist, old chap.” 

Pushes button. Casper, club attendant, appears. 
Chandler gives order. Motions Bindler to the adjoin¬ 
ing seat. Chandler leans toward him and asks ques¬ 
tion: 

“Indigestion or love?” 

Bindley looks embarrassed, pulls at his collar, adjusts 
his cuffs, twists his head, and makes grimaces with 
face. Chandler screws monocle in eye, looks critically 
at Bindley and says: 

“My word! if you were pinched as a suspect, and cut 
such capers, you would be booked as a habitual crimi¬ 
nal.” 

Bindley places his hands upon the arms of his chair, 
looks startled, and asks: 

“What do you mean?” 



104 


PHOTOPLAYS 


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Chandler leans his elbow down upon his knee, points 
his long finger at Bindley, and says: 

“Ask any criminologist, and he will tell you that 
the criminal always makes faces, plays with his collar, 
and tries to swallow his Adam’s apple.” 

Bindley drops back in his chair and says: 

“Great heavens! Has it come to that ? You suspect 
me of being a gentleman burglar?” 

Chandler seriously replies: 

“You can’t be both; and a gentleman does not do 
what you were doing.” 

Bindley assumes an attitude of vexation, asking: 

“What have I done, pray, that I should be put 
through this third degree? 

Chandler meets Bindley with equal earnestness, say¬ 
ing: 

“That’s what I should like to know. I judge by 
your embarrassment you contemplate confessing the 
crime. Otit with it. Is it money or a woman?” 

Bindley relaxes, drops back into his chair, laughs 
heartily, and answers: 

“Chan, you’re a mind-reader, it’s a woman,—Ma¬ 
dame Grassilli,— and she spurns me.” 

Chandler leans forward, again inserts his monocle, 
and asks: 

“Do you want to marry her?” 

Bindley picks at a spot on the arm of his chair, looks 
sheepish, and replies: 

“I don’t know much about her antecedents; but I 
am very fond of her.” 

Chandler permits his monocle to drop out of his 
eye, wags his head, snaps his fingers, and says: 



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PHOTOPLAYS 105 


“Puh! then buy her. Every woman has her price/’ 
Bindley arouses himself and shows spirit in address¬ 
ing Chandler with,— 

“Be serious, Chandler. I’ll blow up if I don’t tell 
you, I did ask her her price, and she named it.” 

Chandler suddenly straightens up, puckers his lips, 
whistles, and speaks 

“Now you interest me. And what is her price?” 

Bindley presses button and Casper comes, to whom 
he gives order, Casper leaves them. Leaning close to 
Chandler Bindley says: 

“She is only bantering, but I should like to call her 
bluff. She wants a sixty thousand dollar emerald neck¬ 
lace, which she saw displayed in Paris.” 

Chandler exhibits astonishment, whistles, then asks: 

“Cheap, to a man of your wealth. Of course you 
will give her the necklace.” 

Bindley assumes a more cautious and confidential 
attitude. 

“I’m willing to buy the necklace at the price, but 
there is estimated an inconsistent duty of forty thou- 
and dollars. I won’t pay this.” 

Chandler slaps his hand on Bindley’s knee, and 
says: 

“I’ll bring you the necklace for sixty-five thousand 
dollars.” 

Bindley brightens up, showing great excitement. 
Slapping Chandler on the shoulder, he exclaims: 

“You will? I accept your proposition. Tomorrow 
morning I will deposit to your order this amount.” 

Casper enters with the drink, and Bindley and Chan¬ 
dler arrange the details of the deal, Chandler saying: 



io6 


PHOTOPLAYS 


Cut in 

Close up 

Cut in 

Cut in 

Cut in 

Sub-title 

Cut in 

Cut in 

Insert 

Conver- 


“Pll hand you the necklace, if it can be had at that 
price, in forty days from this date.” 

Each makes memorandum in his pocket diary. 
Bindley arises, bids his friend adieu, and leaves the 
room, Chandler watchng him earnestly as he passes 
out. Then Chandler pushes a button, Casper Comes, 
with his usual exaggerated eagerness, bowing and 
scraping and holding his hands. Chandler screws the 
eyeglass in place, looks him over, and exclaims: 

“My word! Casper, what do you use to keep your 
old body so limber? I need some of it.” 

Casper smiles and continues his obsequious actions, 
saying: 

“Is it one of your jokes, Mr. Barstow?” 

Chandler points to the wall, and Casper brings a 
telephone, attaches it, and directly retires, while 
Chandler calls a number. Speaks 

“Is this Morris Brossard? Can you run up to my 
Club for a minute, Morris? All right, Casper will 
bring you to me.” 

Hale hour later 

Casper ushers Morris Brossard to where Chandler 
is sitting. Brossard is the typical, well-to-do Hebrew 
jewelry broker. They confidentially put their heads to¬ 
gether. Chandler speaks 

“Morris, what do you know about the Hinsburg 
Emerald Necklace?” 

“Morris looks up in surprise. Speaks 

“Why, Mr. Barstow, I know all about it. My 
brother David in Paris owns it.” 

Chandler starts, but checks himself, and asks: 

“At what price does he value it?” 

“Sixty thousand dollars in Paris.” 



PHOTOPLAYS 


107 


SATION 


Scene 2 
Leader 


Cut in 


Insert 

Conver¬ 

sation 


Scene 3 


Scene 4 


“Have you a cypher code?” 

“Yes.” 

“If I buy the necklace for sixty thousand, would 
your brother assist me to bring it in duty free?” 

“Yes.” 

They arrange the details of the purchase as Diaph¬ 
ragm closes. 

Interior. Small French restaurant with stalls on side. 
O’Maley oe the Secret Service. 

O’Maley seated in booth, awaiting Chandler. Chand¬ 
ler arrives, and O’Maley arises and cordially greets 
him. They order luncheon and talk as they eat. 
Chandler speaks 

O^Maley, you need a rest. How old is your daugh¬ 
ter Julia?” 

O’Maley pauses with his cup in the air, looks sur¬ 
prised. They tak. 

“Must have something funny in your mind, if it in¬ 
volves both me and my daughter.” 

“Well, I have an old maid Aunt, O’Maley, who will 
murder me if I don’t soon send her to look over 'Gay 
Paree.’ I want you and your daughter to chaperon 
her.” 

“My daughter is at school, Mr. Barstow.” 

“And my Aunt is a Vermont school teacher,—that 
will enable you to procure a vacation for your daughter. 
I’ll allow you ample means for the trip.” 

“That sounds good to me.” 

They complete arrangements, pay the check and leave 
the restaurant, smiling and satisfied. 

Exterior. Broadway and Union Square, New 
York. Office building in foreground. 

Chandler among the pedestrians passing the build¬ 
ing. He enters. Cut to 

Interior. Office of Otto Helmig. 



io8 


PHOTOPLAYS 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Helmig in. Chandler enters, shakes hands with Hel- 
mig, and asks: 

“Where may I find your sister Marie right quick, 
Helmig?” 

Helmig smiles, points to the telephone booth, out of 
which Marie appears. Chandler arises and greets 
her, and they all sit at Helmig’s desk. Marie is a 
chubby, good-natured woman, with happy, animated 
face, and snowwhite hair. Chandler speaks 

“Marie, how would you like to chaperon a fourteen- 
year-old girl and a sixty-year-old man to ‘Gay 
Paree’ ?” 

Miarie laughs, saying: 

“Quit your kidding, Chandler. If I could I would 
walk across the Atlantic and carry them on my back, 
—just to see Paris!” 

Helmig reassures her with: 

“You won’t have to walk. Besides Mother says 
you’re a poor walker.” 

Then Chandler speaks 

“I’ll explain. Are you willing to impersonate my 
old maid Aunt?” 

Marie replies: 

Sure I will. I know I’ll go crazy, but I’ll go, even 
if I have to pose as your mother.” 

Chandler explains the arrangements he has made 
with O’Maley, adding: 

“You will have nothing to do but to look happy, 
carry out my simple instructions, stick close to O’Maley, 
and ask no questions.” 

After brief talk Chandler leaves the office. Out 
and into 



Leader 
Scene 5 


Scene 6 


Leader 
Scene 6 

Scene 7 

Cut in 
Scene 8 


Scene 9 


PHOTOPLAYS 


109 


The Joys oe "Gay Paree" 

Interior. Shop scene. 

Marie and Julia enter. Saleswoman shows coats 
trying them on Julia. Marie enthuses over coat put 
on Julia, who calls attenton to the many buttons on 
the coat. Marie pays for the coat and Julia wears it 
as they leave the shop. Cut to 

Exterior. Street in Paris, shopping thoroughfare. 

Marie and Julie emerge from the shop; they pause 
at the adjoining show window and admire the display 
of jewelry, Julia pointing to an emerald necklace in a 
gorgeous plush case. A well-dressed man pauses at 
the window and listens to their conversation. 

A Few Days Later 

Exterior. Pier at Cherbourg. Ocean liner about 
to sail. 

O’Maley, Marie, and Julia going aboard ship for 
New York. 

Interior. State-room on Steamer. 

Marie and Julia examining the many buttons on the 
coat. Marie places the coat in her own steamer trunk, 
saying: 

"I’ll have new buttons put on the coat, dear.” 

Exterior. Pier in New York. Piles of luggage, 
landing scene. 

O’Maley lands. Custom’s official recognizes O’- 
Maley, shakes hands with him, asks him a question. 
O’Maley points to luggage, the official OK’s it and 
passes it. Porters take the luggage and put it on the 
top of a cab and they are driven away, as Diaphragm 
closes. 

Exterior. Home of Chandler’s mother on Mad¬ 
ison Avenue. 

Cab drives up. Marie alights; her baggage is 
lifted down; she shakes hands with O’Maley and Julia 




no 

PHOTOPLAYS 

Leader 

and they are driven away. Marie enters the house, the 
servants bringing in the baggage. 

The Foeeowing Day 

Scene io 

Exterior. A small shop on lower Sixth Avenue. 
Marie comes along street, enters, carrying with her 
a flat box. Out and into 

Scene ii 

Exterior. Small second-hand clothing shop.. 

Marie enters, is greeted by an elderly Hebrew 
woman. She takes from the box the coat with many 
buttons and discusses it for a while, Marie referring 
especially to the buttons. The woman speaks 

Cut in 

“I can use these buttons, select others and I will 
make the exchange without charge. Call for it to¬ 
morrow morning.” 

Scene 12 

Exterior. Same as Scene io. Showing jeweler’s 
shop next to door Marie enters. 

Marie leaving, observes that the adjoining shop is 
the jeweler’s shop of Morris Brossard. Cut to 

Scene 13 

Interior. Jeweler’s shop. 

Morris Brossard, sitting at desk in rear of shop, 
counting a handful of buttons. Diaphragm Down. 

Scene 14 

Interior. Same as Scene i. 

Chandler and Bindley seated in friendly conver¬ 
sation. Bindley speaks 

Cut in 

“Do you know, old chap, this is the fortieth day, 
when you were to deliver the necklace to me ?” 

Chandler looks cautiously about, saying: 

Cut in 

“I will slip you a package which I advise you to 
keep under cover until you place it on the neck of your 
lady love.” 

Cautiously passes to Bindley a flat package contain¬ 
ing the necklace. Bindley joyously receives it and 
shakes Chandler’s hand gratefully, saying: 



PHOTOPLAYS 


in 


Cut in 
Scene 15 

Insert 

Conver¬ 

sation 


Cut in 


Scene 16 

Scene 17 

Scene 18 


“You shall be present this evening when I present 
it, Chan, but three will be a crowd at supper.” 

Interior. Private dining room. 

Bindley, Chandler, and Madame Grassilli in. Mad¬ 
ame and Barstow converse thus: 

“I’m jealous of you, Mr. Barstow. 

“Pray, why do I deserve such favors Madame 
Grassilli ?” 

“Every time I want Horace I find him with you.” 

“Then you are to be congratulated for finding him 
out. If he prefers my poor company to that of so 
charming a woman, he is an unworthy suitor.” 

Bindley grins and, fumbling with the case contain¬ 
ing the necklace, he arises, steps behind Madame 
Grassilli’s chair, saying: 

“Close your eyes and make a wish.” 

Madame smiles, and Bindley clasps the necklace 
about her neck. She places her hands up to her neck, 
feels of the necklace, arises hastily and goes to a 
mirror and examines her reflection. Clasping her 
hands in ecstacy, she rushes to Bindley, throws her 
arms about him, and kisses his cheek. She reseats 
herself, attempts to remove the necklace, says some¬ 
thing to Bindley, who quickly arises, removes the 
necklace, and kisses her cheek as he places it in her 
hands. Fade out. 

Interior. Behind the stage scenery. 

Four men earnestly talking as others flit about in 
performance of their respective duties. 

Interior. Opera house stage; part of orchestra 
and box or so visible. 

Madame Grassilli singing on the stage. Bindley 
above in box, applauding as she finishes her aria. 

Interior. Dressing room of Madame Grassilli. 

Madame is dressed for the evening. Four men 
enter. She is indignant at the intrusion. One of the 



112 


PHOTOPLAYS 


Cut in 

Scene 19 

Insert 

Note 

Scene 20 

Cut in 

Scene 21 

Cut in 


men picks up the necklace from the dressing table, 
and three of them examine it. while the fourth seems 
to be apologizing and explaining. Suddenly both the 
Manager (who is explaining that these are customs 
officials) and Madame Grassilli turn toward the other 
men in surprise, she showing great indignation. She 
cries: 

“Dummy! Glass!” 

Madame tosses her head; makes a grimace, and 
turns away from them. They replace the necklace 
upon the table; apologizing to her, back, and retire. 
The Manager also sheepishly follows. She seizes 
some paper and pen, and hastily writes a note, seals 
it, and has her maid deliver it to a page. 

Exterior. Stage door; automobile in waiting. 

Bindley waiting in auto; boy approaches, handing 
Bindley the note. He opens and reads: 

You brute! You cheap person! I might have known it. 
I never want to see you or speak to you again. 

Grassilli. 

Bindley standing spellbound. Crushes the note in 
his hand, hardly knowing what to do, then registering 
humiliation, he turns and walks away dejectedly. 

Interior. Hotel telephone booth. 

Bindley at phone, speaks 

“That you Chandler?. . . . Will you come to the 
Bateman at once? I’m in trouble. . . Thank you” 

Interior. Hotel Smoking-room. 

Chandler enters hotel smoking room. Bindley 
seated in corner. Bindley arises on Chandler’s reach¬ 
ing him, shakes his hand, and pulls him down by his 
side on the lounge. He thrusts the note into Chandler’s 
hand, saying: 

“Read that and tell me what it means.” 




PHOTOPLAYS 


Cut in 
Scene 22 

Cut'in 

Scene 23 

Cut in 

Scene 24 

Scene 25 

Cut in 

Cut in 

Cut in 


113 


Chandler screws in his eyeglass, reads the note, 
arises hastily, saying: 

‘‘My word! Excuse me a moment.” 

Interior. Hotel telephone booth. 

Chandler in, talking: 

“Madame Grassilli ? . . Don’t ring me off, Madame, 
till I speak. It is most important. This is Mr. 
Barstow . . . I’m not speaking for him, but for you 
and myself . . . Thank you, Madame, I will be there 
in fifteen minutes.” 

Interior. Same as Scene 21. 

Chandler returns to where Bindley is seated, and 
hurriedly gives him some instructions, saying: 

“Remain there till I return.” 

Bindley attempts to talk, but Chandler waves him 
away, and hurries out. 

Exterior. Metropolitan Annex. 

Chandler alights from taxi-cab and enters the Met¬ 
ropolitan Annex. 

Interior. Madame Grassilli’s apartment. 

Madame in. Chandler enters. 

She reservedly meets Chandler, who greets her with 
half concealed amusement on his face. He speaks 

“Madame, my friend is heartbroken. Will you 
frankly tell me what occurred?” 

Madame replies: 

“He is unworthy of any woman’s respect. He has 
placed me in a most degrading position. I cannot 
forgive him.” 

Chandler questions: 

“And the nature of his offense, Madame?” 

Madame Grassilli steps into the adjoining room, 
returns and hands the necklace to Chandler, who 



PHOTOPLAYS 


114 


Cut in 


Cut in 


Cut in 

Cut in 


Cut in 


Scene 26 


takes it, looks it over, then looks at her questioningly. 
She draws herself up, glares at him, and points to 
the necklace, saying: 

“It’s a dummy necklace!” 

Chandler looks astonished, screws his glass into his 
eye, examines the necklace closely, and exclaims: 

“Impossible! Not with his knowledge, Madame.” 

Madame then explains the visit of the customs 
officials, pantomiming her humilitation and anger. 
Chandler listens, nodding his head and showing sym¬ 
pathy for her. She asks: 

“Now what would you have me do?” 

Chandler replies: 

“Madame, if you will keep your supper engagement 
with my friend, I will accompany you there, and call 
the best gem expert in New York. On his decision 
you may rest your judgement. I stake my reputa¬ 
tion that your necklace is genuine.” 

Madame hastily prepares to accompany him, saying: 

“I will go; I want to know the truth.” 

Chandler escorts her to door as Diaphragm cuoses. 
Same as Scene 15. 

Bindley pacing the private dining-room. Door opens 
and Madame Grassilli and Chandler enter. Bindley’s 
face lights up and he attempts a cordial greeting, 
but she coldly checks him. Chandler gives some 
instructions to the waiter, and the three seat them¬ 
selves. The supper is served, the waiter retires, and 
Bindley looks inquiringly at Madame, who opens a 
small package containing the case in which is the neck¬ 
lace. She hands the case to Bindley, who is struck 
with astonishment, looking with alarm, first at the 
box, then at Madame. His whole attitude is a ques¬ 
tion mark. Madame, pointing at it, speaks: 





PHOTOPLAYS 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


US 


“Experts have declared it a dummy necklace.” 

Bindley arises with wrath in his face, and with hands 
clinched. Leaning forward, he glares at Chandler, 
and then at Madame, who seems frightened at his 
angry attitude, saying: 

“And you insulted me by having an expert examine 
this to-night?” 

Menacingly approaching Chandler, he continues: 

“And you call yourself my friend! What have you 
to say?” 

Chandler sits coolly swinging his eyeglass, looking 
first at one then the other; shrugs his shoulders, saying: 

“I think both of you act like children. Wait a 
moment.” 

Chandler takes up telephone and calls a number. 
Then speaks 

“Morris Brossard? This is Chandler Barstow . . . 
Can you come immediately to the Bateman? . . Yes, 
very important . . . Ask to be directed to private 
dining room number sixteen.” 

Chandler returns to the table, laughing, as he says: 

“Now, you fighting Irish, go on and eat your supper. 
You’ll either be pulling hair or kissing in a few min¬ 
utes.” 

Door to private dining room opens and the head 
waiter ushers in Morris Bossard, scraping, bowing, 
and smiling. Bindley and Chandler arise. Chandler 
introduces Bindley and Madame Grassilli to Brossard 
who extends his hand and Bindley gives him the case 
containing the necklace. Chandler opens the case, and 
hands it to Brossard, saying: 

“There is a doubt regarding the genuineness of 
this necklace. Will you examine it?” 



ii6 

PHOTOPLAYS 

Cut in 

Brossard takes from his pocket a jeweler’s glass, 
takes the case across the room where a drop-light 
rests upon a pedestal, and carefully examines the 
stones. He returns, holds the case to Bindley, and 
says: 

“I will pay sixty thousand dollars for the necklace, 
and take it now.” 

Close up 

Bindley sits straight up, Madame Grassilli looks sur¬ 
prised, and stares first at Bindley then at Brossard. 
Chandler adjusts his eyeglass and looks upon the 
group with a bantering smile upon his face, saying to 
the jeweler: 

Cut in 

“This is no place for us, Brossard, come!” 

Bindley reaches out his hand toward Chandler, and 
Madame Grassilli also pleads with him to stay, but 
he only pushes Brossard, and follows laughingly. 

Scene 27 

Exterior. Street. Night. Automobile and taxi¬ 
cab in waiting. 

Chandler standing on sidewalk, lighting a cigarette 
as Bossard steps toward his taxicab. Chandler 
speaks 

Cut in 

“Good night, Morris. Keep the dummy, you might 
have occasion to use it again.” 

Scene 28 

Interior. Same as Scene 26. 

Bindley standing over Madame Grassilli, placing 
about her neck the emeralds, kisses her. Fade out. 



MAKING A MOVIE STAR OF MOTHER 























































































































































































































































































































































































MAKING A MOVIE STAR OF MOTHER 


Dick Swift_ 

Benny Collins 

POLLY COLLINS . 
Mother Collins 
Claude Hunker 
Mrs. Murphy . 


CHARACTERS 

...Managing Editor 

.His Movie Man 

.Ben’s Sister 

___Their Mother 

.Movie Man 

.The Collins’ Neighbor 


119 









PHOTOPLAYS 


121 


CONTINUITY 


Scene i 


Cut in 


Scene 2 

Insert 

paper 

Scene 3 


Scene 4 
Scene 5 

Scene 6 

Cut in 

Cut in 


Interior. Office of Managing Editor. 

Dick Swift pulling his hair and yelling. Enter 
Benny Collins and Claude Hunker. Swift yells: 

“What the h-h—Here, take these assignments and 
jump. Read them as you run. Get out!” 

Shoves into their hands crumpled papers containing 
their instructions. Benny grabs his movie camera and 
hurries out. Fade to 

Exterior. The sidewalk. Benny looks at the 
paper, reads: 

Take best set of pictures you can of your mother, 
and turn into developing department by three o’clock. 

Benny stares at the paper, looks back at the office, 
hesitates, then plunges for a street car. 

Exterior. Benny Collins’ home. 

Polly is standing at the gate. Benny puts down his 
case, pulls the instructions and shows them to Polly, 
and scratches his head. Polly looks questioningly at 
Benny, but he only shakes his head Suddenly Polly 
motions for Benny to come into the house. 

Interior. Back room of Collins’ home. 

Benny and Polly peeping out of rear door. 

Exterior. The Collins’ back yard. 

Mrs. Collins in. A woman weighing two hundred 
and fifty pounls, leaning over a washtub, washing. 

Interior. Same as Scene 4. 

Polly and Benny still looking out of door. Benny 
exclaims: 

“Gee, Polly, Maw’s surely a target for a battle-ship.” 

Polly laughs and holds up her finger, saying: 

“Let’s make a movie star out of mother.” 



122 


PHOTOPLAYS 


Scene; 7 


Cut in 


Scene 8 


Benny catches the idea and quickly sets up his ma¬ 
chine, and begins to photograph Mother washing. He 
runs out of the room and returns with a sling-shot, 
shows Polly how to operate the machine; takes care¬ 
ful aim. Cut to 

Exterior. Same as Scene 5 - 

Mrs. Collin leaps into the air, slaps her wounded 
tender spot, whirls about, and glares at her neighbor’s 
yard and says something ugly, shaking her fist. Slow¬ 
ly, but full of anger, she draws a sheet from her 
tub, stands up, and glares again at the neighbor’s home, 
and puts the sheet through the wringer. She stoops 
over to get another piece and Benny scores another 
bulls-eye. Again mother claws the air, slaps her 
hands where it hurt, glares first at her neighbor’s house, 
and then looks at her own house. She studies a mo¬ 
ment, then throws up her head and calls: 

“P-o-l-l-y!” 

Polly comes rushing. Answers, and runs around by 
the side of the house and to where mother is stand¬ 
ing. She seriously listens to her mother, and they 
furtively look towards the neighboring yard, Polly 
goes to the dividing fence, and peeps over into the 
adjoining yard. Mrs. Collins again leans over the 
tub and gets a crack that nearly stands her on her 
head. In her anger, she accidently places her hand 
on the edge of the tub, upsets it, and sits down hard 
upon the ground, the contents of the tub deluging her 
back. Polly runs to her and helps her to arise. In 
a rage Mrs. Collins makes a dash for the back gate 
and rushes through the back gate into her neighbor’s 
yard. 

Exterior. The Murphys’ back yard. 

Mrs. Collins hammers on door. Mrs. Murphy comes 
to the door (a big, rawboned, red headed Irish wo¬ 
man). Mrs. Collins shakes her fist in Mrs. Murphy’s 
face, saying: 



PHOTOPLAYS 


123 


Cut in 

Cut in 


Leader 
Scene 9 

Cut in 

Cut in 


“If your boy Johnny don’t stop teasing me, I’ll 
have the law on you.” 

Mrs. Murphy looks at Mrs. Collins in astonishment. 
Speaks 

“G’on! What’s y’u given me? Johnny’s in school.” 

Mrs. Collins explains pantomiming what has hap¬ 
pened. Mrs. Murphy puts her hands on her hips and 
laughs boisterously. Mrs. Collins grabs her, and 
they go down together. They pull hair and pummel 
each other, as they roll about the yard. Polly stands 
at the fence screaming. Suddenly a bull-dog rushes 
upon the scene and grabs a mouthful of Mrs. Collins’ 
dress, and half strips her. Mrs. Collins tears the 
outer garments off Mrs. Murphy, and they stand glar¬ 
ing at each other half nude. Mrs. Murphy looks down 
at her plight turns and rushes into her house. Mrs. 
Collins returns to her own back gate where Polly 
awaits her, winding a sheet about her as she enters. 

They enter the house. 

Five O’clock That Evening 

Interior. Same as Scene i. 

Dick Swift in. Benny enters. Dick Swift jerks 
his head and speaks to Benny. Pushes a button and 
arises, saying: 

“Come on, let’s see what you got. The films are 
done. Some of the big guns will see the picture.” 

Benny looks startled and pulls Dick’s arm, asks: 

“Oh, I say, what are you going to do with that pic¬ 
ture?” 

Dick looks sharply at Benny. 

“I’m going to feature it, of course.” 

Benny grabs him by the arm as they enter the screen 
room, and speaks 


Cut in 



124 


PHOTOPLAYS 


Cut in 


Cut in 
Scene io 


Cut in 

Cut in 


Cut in 

Cut in 


Cut in 
Cut back 


‘‘The hell you are! Who told you you could do 
that, and why did you give me such an assignment. 
That’s what I’d like to know?” 

Dick looks at Benny in amazement, then savagely 
pushes him away, as he says: 

“Fade away! What’s eatin’ you?” 

Interior. Room fitted for projecting moving pic¬ 
tures. 

Several moving picture magnates are present. Dick 
Swift comes in, looks about, and motions to Claude 
Hunker, asking: 

“Why didn’t you turn in your pictures, Claude?” 
Claude looks at Dick in surprise, saying: 

“Why there was no wreck at Jellico Pass. A hand 
car ran over a pig and killed it. They both have a still 
picture of the harrowing scene up in the developing 
room.” 

The movie people listen and laugh. Dick chews the 
end of his cigar viciously. Cocks his head up at 
Claude, asking: 

“What the hell you talkin about? What’s your 
mother’s dahlia garden got to do with that reported 
wreck?” 

Turning to Benny, he yells: 

“Come here, kid ! Let me see that sheet I gave you.” 

Benny produces the assignment. Dick nearly swal¬ 
lows his cigar, scratches his head, looks covertly at the 
bunch of movie men, studies a moment, and throws 
up his hands saying: 

“Let her go!” 

Flash of Scenes 5, 7, 8. 

The movie man laughs uproariously. Benny stands 
sullenly looking on. A man comes up to him, saying: 



PHOTOPLAYS 


125 


Cut in 


Scene 11 


Insert 

LETTER 


Scene 12 


Cut in 


“They tell me this fat woman is your mother, 
Benny. Take this, and jump. Don’t stop to read it 
until you get home. Never mind orders from Dick ” 

Benny hurries out of room. 

Interior. The Collins’ Kitchen. 

Mother and Polly sitting in kitchen, peeling potatoes. 
Benny comes in. Draws from his pocket a large en¬ 
velope. Mother, this is a letter to you. They open 
the letter and find a check inside for fifty dollars. 

Dear Madam : 

The enclosed contract offers you fifty dollars a week to 
hold yourself subject to our first call on your services as a 
moving picture character. If you accept and sign the con¬ 
tract the enclosed check for fifty dollars you may retain as 
a bonus. 

Very respectfully. 

Binzo Moving Picture Co. 

Exterior. Same as Scene 5. 

Mrs. Murphy at washtub in Mrs. Collins back yard. 
Mrs. Collins standing in her back door bedecked in 
fine clothes. Mrs. Collins speaks 

“Mrs. Murphy, you may go home when you’re 
through. I must go to the studio.” 

She draws on her long kid gloves and turns ma¬ 
jestically away as Diaphragm goes down. 





LOVE AND THE LAW 









■4 

% 





% 















* 




PRINCIPAL CAST 


Conrad Alderson .Hermit Miner: Male Lead 

Leona Matson .Daughter of George Matson: Fe¬ 

male Lead 

Wilbur Matson .) R , The Heavy 
George Matson .) ro ers His Brother 

William Alderson .Father of Conrad: Character Role 

David Alderson .William’s Brother 

Detectives, Porter, Hotel Proprietor, 
etc., etc. 

SYNOPSIS 

Conrad Alderson on way to mysterious mine owned by his 
father,—located in Saw-Tooth Mountains of Idaho,—riding horse¬ 
back, trailing pack horse and accompanied by collie dog, jack, 

at night.He arrives at small valley deep in the Saw-Tooth 

mountains. Lake filled with wild ducks. Green sward. Small 
pine growth. Sheltering cliff protects abandoned cabin. He relo¬ 
cates his father’s mine, repairs the cabin and prepares to winter 
there. 

Alderson's comforts have greatly increased; Two years later 
he has accumulated rich gold ore, and has made two annual trips 
out for supplies. He is preparing for the coming winter, which 
begins with terrific storm. As he stands in doorway watching storm, 
Jack exhibits great excitement and attracts his master’ attention 
to the trail leading down from the mountains. Alderson puts on 
slicker and investigates. He finds a woman lying in the trail un¬ 
conscious and half submerged in a stream of water running down 
from mountain-side; carries her to cabin, removes her clothing, 
wraps her in blanket, and places her in a bear-skin chair at fire¬ 
place,—with her feet in a basin of hot water,—and gives her stimu¬ 
lant. 

She revives and is indignant to find Conrad has removed her 
clothing, whereupon he explains that it was a choice between that 
and pneumonia. 


129 







130 


PHOTOPLAYS 


Conrad treats her kindly and wins her confidence; she tells him 
she is in great distress because her father is also lost and wandering 
about in the storm. 

Conrad opens door and shows her the blinding snow half-covering 
the doorway, declaring that no animal could go out in it and live. 
She is astonished that she will not be able to leave the next morning. 
Conrad tells her that the snow will not cease falling until the cabin 
is completely covered, and that they are prisoners for six months. 
But they are amply supplied with all comforts and will be kept oc¬ 
cupied extracting the gold from the accumulated ore. The house 
is supplied with running hot and cold water from springs beneath 
the cliff. Conrad has constructed a snug hot plunge. Hay and 
feed for his horses are all under cover, and the winter’s supply of 
wood. 

The woman becomes reconciled to her fate. Conrad treats her 
with the greatest respect. She tells him to call her Leona. He 
confides his story and true name to her: 

His father was confidential accountant for the Matson brothers. 
His mothr being very ill, his father got leave of absence to bring 
her to the West, where she dies. His father accidentally discovers a 
rich gold deposit and returns to New York. Wilbur Matson at¬ 
tempts to bulldoze him into giving him and his brother an interest 
in the mine. In a violent quarrel, Matson accuses Conrad’s father 
of being $30,000 short in his accounts. In a rage of resentment 
William Alderson vows that his son Conrad will make Wilbur Mat- 
son eat his words, and leaves the Matson office, going to his room at 
a hotel. Conrad comes there, and his father tells him of the quarrel 
and about the mine, and how he may find his way to it. 

Conrad leaves the room and when he returns he finds his father 
and Wilbur Matson in deadly combat. Matson has his father bent 
over a table, choking him. The father strikes Matson over the 
head, killing him. His father thrusts all the papers into Conrad’s 
hands and pushes him out of the room, saying he will take care of 
himself. Conrad, not knowing that Matson is dead, leaves the room. 
The next morning he reads in the newspaper of a double tragedy 
in which Matson and his father both were killed, his father having 
died of heart failure after Conrad had left the room. On the 
advice of his Uncle, Conrad at once leaves for the West. Matson’s 
brother George held the belief that Conrad had killed his brother. 



PHOTOPLAYS 


131 


Upon telling Leona this story Conrad is surprised to see her 
weep. Then she tells him that Wilbur Matson was her Uncle, and 
that her father with two detectives and herself had come to the 
West in vengeful search of him,—Conrad. 

Conrad's Uncle was aware that Wilbur Matson was bankrupt 
and had induced his son, a clerk in the same bank, to help him over¬ 
draw his account $160,000. 

Leona’s father made this good, and it broke him. 

Necessarily, her father and the two detectives lost their lives in 
the same storm that had overtaken her. She had been separated 
from them and was lost. 

For six months Conrad and Leona live a clean, decent life to¬ 
gether in the little cabin, and are very happy. 

In the spring they find themselves very much in love with each 
other, and plan their marriage and future happiness. 

Their life and common interests while thus confined give op¬ 
portunity for some smart and dramatic scenes, neither prudish nor 
too suggestive. 






PHOTOPLAYS 


133 



CONTINUITY 

Leader 

The first daw of nature bids ale diving crea¬ 
tures TO DOVE AND MATE, GIVING THEM THE PER¬ 
SONAE RIGHT TO MAINTAIN AND PROTECT THE OB¬ 
JECT EOVED. 

THE COMMUNITY EAWS OF MEN TAKE AWAY THEIR 

God-given rights, making of love and marriage 

OBJECTS OF COMMERCE AND SUSPENDING THE RIGHT 

of seef-protection. Hence, when hard pressed, 
men again seek the protective God of nature 

IN THE WIEDS, WHERE THE EVER VENGEFUE EAWS 
OF MEN CANNOT REACH. 

Conrad Alderson was hard pressed, and he 
availed himseef of this privilege. 

Scene i 

Exterior. An old Indian trail leading into the 
heart of the Saw-Tooth mountains. 

Conrad, a lone horseman, trails his pack horse as 
he toils up the mountain. Reaching the divide, pauses 
for a temporary rest of his animals and he views the 
magnificent prospect before him. 

Sub-title. 

There grim and imperious, leaning against 

THE WESTERN SKY, WERE THE JAGGED WALES OF 
LIMESTONE, GRANITE, AND PORPHYRY, SEEMINGLY SO 
NEAR HE MIGHT REST HIS FOOT UPON THEM—YET 
SO FAR AWAY HE MUST DOLE OUT HIS ENERGY UNIT 
BY UNIT TO REACH THEM ALIVE. 

Scene 2 

Exterior. View of the region from the divide. 

Conrad sits upon a stone while his horses have their 
breathing spell. His fine collie dog, Jack, comes and 
pushes his head up under his arm and rests it upon 
his knee. His master drops his arm down over his 
coat and tickles him in the ribs, looks down at him 
affectionately, speaks 

Cut in 

“You are getting mighty skinny, Jack, but we’ll 
have a good mess of fat squirrels to-night, so cheer 
up.” 



134 


PHOTOPLAYS 


Leader 


Scene 3 


Cut in 


Scene 4 


The grateful dog expresses his pleasure at being 
thus addressed. Conrad arises, reaches down upon a 
shelving spot and plucks several bunches of Buffalo 
grass which he feeds to his animals from his hands, 
pats their faces and necks, mounts and starts on the 
descent into the valley below. 

Nature vamps us dike a pretty woman when 

WE ARE HUNGRY, BE IT POR DOVE OR SOMETHING TO 
STAY OUR HUNGER AND HOLD SOUD and BODY TO¬ 
GETHER. She heed out to Conrad the hope of 

FINDING WATER AND GRASS IN THE UITTDE VADDEY 
BEDOW, BY WAIVING AT HIM THE PUUMES OF THE 
WINDOWS AND GIGGDING UEAVES OF THE QUAKING ASP, 
BECKONING HIM TO COME. 

Exterior. A trail leading out of the large tim¬ 
ber into an almost level flat. Standing in the open, 
staring with wondering eyes, are two small cotten-tail 
deer. 

Conrad quickly draws his rifle from its scabbard and 
shoots one of them. The other bounds away. Jack 
runs forward and examines the little animal before 
Conrad reaches it. Conrad looks down upon the deer 
and sadly shakes his head, then looks in the direction 
taken by the mate, speaks 

”1 hated to do it, Jack, but we must provide our¬ 
selves with food.” 

Throwing the animal across his own saddle, Con¬ 
rad walks and leads the horses toward the willows. 

Exterior. A sheltered place among the willows, 
beside a tiny stream. 

Conrad selects a spot to make the camp for the 
night. Removing all but their halters, he leads the 
horses to the plentiful stream, and gives them water. 
While they are drinking, he dips a tin cup into 
the mountain water, and himself drinks. Leading 
the horses back to the packs, he uncoils two long 
ropes, takes the horses where there is plenty of 
grass, and stakes them out for the night. He gathers 



PHOTOPLAYS 


135 


Leader 


Sub-titee 
Scene 5 


1 

L 


wood and starts a fire, puts on a kettle for hot water, 
and adjusts a wire holder over the fire for holding 
his coffee-pot. Taking the rifle, he and Jack step 
across the stream and he brings down two squirrels, 
and they return and Conrad prepares the supper. He 
begins to dress the deer, hanging long strips of the 
flesh over the smoke to cure it for future use. He 
broils certain parts over the coals, also the squirrels 
for Jack. And then they dine. Afterward he erects 
about the body of a pine tree a light tent, cuts some 
soft pine branches for a bed, places his rifle and 
pistols within convenient reach, stands out in the open 
and looks up at the sky. Darkness comes quickly 
and he enters his tent, with Jack lying at the flap. 

Oe aee human experiences there is nothing 

MORE SOLEMN AND AWE-INSPIRING THAN TO BE ATONE 
IN THE GREAT PINE-CEAD REGIONS OE THE ROCKY 

Mountains at night. 

In midsummer, with the setting oe the sun 

COMES the SIGHING OE THE WINDS THROUGH THE 

pines; the sharper snap oe twigs broken under 

THE EEET OE PROWEING ANIMAES; THE HOWE OE THE 
WOEE OR COYOTE,—AND UTTER EONEEINESS. 

It requires a ceear conscience and a strong 

HEART TO SEEEP SOUNDEY THERE. 

Early morn,—a glorious rising sun. Conrad waters 
his horses, prepares a quick breakfast, breaks camp, 
packs his horses, and rides away as Diaphragm 
Seowey Ceoses. 


One Week Later 

Exterior. A small flat, very deep down in a valley 
surrounded with high, jagged peaks. A raging tor¬ 
rent is tearing its way through a gorge and leveling 
itself into a marsh and small lake in the flat. The 
surface of the lake is covered with wild ducks. 

Conrad stands on a ledge leading gradually to an 
open green spot covered with grass and fringed with 
small pine trees. He drops the bridle reins upon the 



136 


PHOTOPLAYS 


Scene 6 


Scene 7 


Scene 8 


Leader 


ground, takes Jack by the collar and cautiously creeps 
down the narrow trail to the level ground. Diaph¬ 
ragm DOWN AND INTO 

Exterior. A small cabin built of pine logs. There 
are no signs of life about the cabin, which is sheltered 
by an overhanging cliff. 

Conrad approaches slowly and cautiously until he 
reaches the door, and finds it secured by a padlock. 
He examines the lock, shakes it, then takes from his 
pocket a bunch of keys, finding one that fits. He peers 
within, and sends Jack inside. Before entering, he goes 
back and returns with the horses. Then he enters the 
cabin. 

Interior. A cabin without a floor. There are 
some crude chairs, now broken down with age. A 
rude table. A comfortable fire-place made of stone. 
Some rusty cooking utensils; some gold pans, picks 
and shovels, two rusty axes and a bunk filled with 
dry pine boughs and a tattered blanket. 

Conrad enters, goes to a square window covered 
with boards, which he pulls off. He sees a door 
leading directly into a long extension filled with wood 
for the fireplace. In the midst of this wood, evidently 
intended for warm shelter, were three horse stalls, 
with a heavy door closing this snug stable. Conrad 
goes out. 

Exterior. Back of cabin shown in Scene 6 . A 
cliff in background. Up under the cliff was a fall of 
mountain water and an old broken flume, indicating 
that the water had formerly been brought into the 
cabin. 

Conrad comes out of cabin, examines his surround¬ 
ings. Goes out, returns, and begins to unpack his 
horses. Iris out. 

It would seem that nature peants these 

BEAUTIFUL SPOTS, DEEP DOWN IN THE MOUNTAINS, TO 
PROVIDE A RESTING-PLACE FOR ANIMAL LIFE AND 
SOFTEN THE FROWNS OF THE SURROUNDING WALLS. 





PHOTOPLAYS 


137 


Scene 9 


Scene 10 


Leader 
Scene ii 


Cut in 


Scene 12 


Conrad was amazed to find near his cabin one 

OF THOSE MOUNTAIN HOT SPRINGS,—FREQUENTLY 
FOUND IN THE MOST UNEXPECTED PLACES,—WHICH 
ASSURED PERMANENT WARMTH. 

Exterior. A lake, its margin covered with wild 
rice, and its bosom with wild ducks. Waterfalls 
above the lake. 

Enter Conrad and Jock. Conrad with rifle, pistol, 
hunting knife and prospector’s pick, examines the tall 
grass, seeks for a trail leading up into one of the 
gulches. Fade out and into 

Exterior. A gulch. 

Conrad in. Finds an overhanging cliff, examines 
the walls, and exhibits great joy, picking off samples 
with the prospector’s pick, and placing them in his 
pocket. 

Two Months Later 

Exterior. Same as Scene 6. With view of lake. 

Conrad pushes a crude boat up to an improvised 
landing and lifts out small bags of wild rice and 
several large bundles of rice hay. Jack meets him; 
Conrad speaks 

“Some wild rice for Johnny cakes for you and me, 
and some hay for the horses this winter, Jack.” 

Stacked near the house is a quantity of dried grass 
for the winter horse feed. Hanging upon a long 
slender pole is jerked venison and smoke-cured squir¬ 
rels and ducks. Two big deer-skins, and coyote skins 
are fastened upon the outside cabin walls. 

Interior. Same as Scene 7. 

A floor of round poles is now in the cabin. The 
fire-place is improved, and shelves and cabinets are 
on the walls. Two large comfortable chairs, each 
covered with a bearskin, are near the big fireplace, and 
coyote skins are on the floor and walls. The bunk 
has given way to a large frame bed covered with bear 
and coyote skins. In a neat willow cage is a magpie. 




i3« 

PHOTOPLAYS 

Leader 

In a coop made of willow twigs are a dozen half-grown 
wild ducks. 

Conrad in. He is wearing skin clothing, including 
moccasins and bearskin cap. 

One must be a true lover of nature to over¬ 
come the longing for the outside and choose 

TO LIVE IN THE SOLITARY MOUNTAINS FOR TWO YEARS. 

Conrad made two annual trips for supplies and 

COMFORTS DURING THAT TIME. IT WAS OCTOBER, 
WINTER WAS A MONTH LATE. ONE MORNING HE 
FOUND NOT A DUCK UPON THE LAKE AND ITS EDGES 
JAGGED WITH ICE. 

Scene: 14 

Exterior. Same as Scene 8 . 

Conrad in, covering the pipe-line from his hot 
spring with soil and pine boughs. 

Sub-title 

Conrad has previously surrounded his cabin 

WITH CORD WOOD AND LEANING PINE TREES. He 
HAS ALSO ADDED A SMALL ANNEX FOR A HOT WATER 
PLUNGE. 

Scene 15 

Exterior. Same as Scene 6 . Night approaches, 
and dark, heavy clouds are hanging low, enhancing 
the gloom. 

Jack close at his master’s heels, whining. The 
horses have ceased grazing and are excited. Conrad 
takes them into their stable and securely fastens the 
doors. Now he stands at the door waiting for the 
crash to come. Looking down at Jack and pointing 
to the sky, he speaks 

Cut in 

“She’ll be a hummer, Jack. We're prisoners for 
six months, old chap.” 

The storm is on; the wind begins to howl, the trees 
to nod, and streaks of lightening to flash, followed 
by crashing thunder. Conrad stands in his door, 
watching the raging elements. The rain begins to 
fall in torrents. The protecting cliff shields the cabin. 
Jack stands near his master, whining and afraid of 
the crashes of thunder and the flashing lightning. 



PHOTOPLAYS 


Cut in 


Scene 16 


Scene 17 


Scene 18 


i39< 


Suddenly Jack darts out of the door snarling and 
looking toward the up-mountain trail. Conrad listens, 
looks at Jack, and then toward the trail, asking: 

“What is it, Jack?” 

The dog is frantic, seeemingly trying to induce Con¬ 
rad to follow him toward the trail. He refuses to 
obey Conrad’s command to come inside. The rain is 
coming down in torrents. Conrad steps inside, and 
returns in rubber boots and slicker hat, slicker coat, 
and with his pistol. To his amazement Jack darts 
away toward the trail. Conrad follows. 

Exterior. A point on the mountain trail. Storm. 

Conrad turning the angle, finds Jack tugging at the 
clothing of someone lying unconscious in the trail, 
almost submerged in the stream of water pouring 
down from the mountain side. He finds it is a woman 
(Leona) in khaki riding habit and boots. She is hat¬ 
less and her hair is matted about her face. Quickly 
picking her up he carries her away as Diaphragm 
CEOSES. 

Interior. Same as Scene 12. 

Conrad enters, carrying Leona. 

He snatches his blanket off his bed and spreads it 
over the bearskin on one of the big chairs. He then 
begins removing her clothing. He draws off her boots, 
then her coat and divided skirt. Diaphragm down 

AND OPEN AGAIN TO 

Interior. Same as 17. 

Leona is resting in the big chair, swathed in the 
blanket. Her feet are in a basin of hot water, and 
Conrad is insisting upon her drinking from a cup 
which he holds to her lips. Her head is bound up in 
a bath towel. 

She looks at her clothing hanging near the fire dry¬ 
ing and then at Conrad questioningly. Conrad 
speaks 

“Ask me no questions, and I’ll tell you no lies.” 


Cut in 




140 


PHOTOPLAYS 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


She half starts up, looking angrily at Conrad, and 
pointing to her stockings, speaks 

“How dare you take such liberties ?” 

Conrad looks smilingly down upon her, and removes 
her bare feet from the basin, wiping them with a 
towel and slipping them into moccasins, as he says: 

“It was that or pneumonia. If you prefer the latter 
it is not too late yet. You’re the boss.” 

She subsides, places her hands to her temples, and 
sighs. Conrad puts upon the small table near by a 
teapot and other things and moves it to the side of 
her chair. She begins to eat ravenously. Conrad 
speaks 

“Let us not quarrel until you are stronger. You 
may thank that good beast, and make the best of it/' 

He points toward the dog. Jack raises his head, 
the woman looks at him with grateful eyes, and ex¬ 
tends her left hand toward him. The dog comes 
quickly to her and puts his paws upon the arm of her 
chair and permits her to stroke his head. Conrad 
observes there are no rings upon her fingers. The 
blanket falls back, revealing her beautiful arm, which 
she attempts to cover with the folds of the blanket. 
Conrad steps to a crude chiffonier, opens a drawer, 
and takes therefrom an undergarment. Stepping be¬ 
hind her, he says: 

“As long as you are in this hospital you will obey 
orders. Hold up your hands.” 

Turning and seeing the garment, she laughingly 
obeys, and Conrad pulls it down over her head and 
shoulders, helping her to get her hands through the 
sleeves. She looks up into his face uncertain as to 
her position, speaks 

“You are charmingly informal, and you seem to 
be a gentleman.” 



PHOTOPLAYS 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


141 


Conrad laughs and points to the things on the table. 
She begins to eat. Conrad, after a moment’s silence, 
speaks 

“I need a hair cut, but you are as safe here as you 
would be in your own home, wherever that may be, 
as long as you act sensible and natural.” 

As if this has brought her to her senses, she half 
rises from the chair, and clasping her hands excitedly, 
exclaims: 

“Oh ! My father, where is he? He must be wander¬ 
ing out there in the mountains in this awful storm!” 

Conrad springs to his feet. She continues to talk. 
Conrad goes to the door and opens it. It is now 
snowing heavily. He closes the door and places a 
strong bar across it. He returns to where she sits 
looking inquiringly at him. He shakes his head and 
looks thoughtful into the fire, saying: 

“I am sorry. No animal can go out in that snow¬ 
storm and live. By morning this cabin will be snowed 
under. We are prisoners for six months.” 

She springs to her feet, forgetting she is wrapped in 
the blanket. Conrad hastily readjusts her wrap, and 
warns her, pressing her back into the chair. She asks: 

“Do you mean I cannot leave here tomorrow morn¬ 
ing?” 

Conrad hangs his head and picks at the table; 
speaks 

“No one invited you to come here; no one will de¬ 
tain you if you desire to leave,—but you will find it 
a physical impossibility.” 

She drops back in hopeless despair, as she asks: 

“And my poor father, where is he?” 

Conrad sits in the other chair, staring into the fire. 
Thus they sit in silence. Jack rises, and comes softly 


Cut in 



142 


PHOTOPLAYS 


Cut in 

Cut in 


Scene 19 

Scene 20 

Scene 21 

Scene 22 


and places his head upon Conrad’s knee. Conrad looks 
down at him, suddenly starts, and quickly arises, say¬ 
ing: 

“Oh, yes, old chap; I nearly forgot, we must dine.” 

The woman looks at him and at the intelligent dog. 
She says: 

“You must forgive me, but I’m almost crazy. I’ll 
try to give you little trouble.” 

Conrad gets a bowl from his cupboard, goes to a 
boiling pot, fills it, and sets it upon the table, with a 
spoon in it. She obediently begins eating the thick 
porridge. She looks smilingly up at Conrad, and 
points to Jack. Conrad laughs, gets a large basin, 
fishes out Jack’s mess, and puts it to cool. Jack 
watches him with hungry eyes. Then he prepares 
his own, and they both eat. He pours coffee for both. 
They sit and look into the fire, and she tells her story. 
Conrad leans forward to listen as she talks. Fade out 
into 

Exterior. Railway station. Train entering, stops. 

Leona and Wilbur Matson alight from train, enter 
an automobile, with hand baggage, and are driven off. 

Interior. Hotel office. 

Enter Leona and Wilbur Matson. They are met 
by two men, entering into a conference with them. 
The chief porter is called and they question him. The 
porter shakes his head dubiously, steps to the wall, 
and puts his finger on the date of September 23 on 
a calendar. The men seem impatient and the porter 
walkes away. They recall him and give him some in¬ 
structions, and he hurries away. 

Exterior. Hotel entrance with automobile waiting. 

Leona, Matson, and the two other men enter an 
automobile with their traveling bags. They are driven 
away from the hotel. 

Exterior. A deserted mining town; an old wooden 
hotel,—sheriff’s office opposite. 




PHOTOPLAYS 


143 


Sub-title 


Scene 23 


Leader 
Scene 24 


Scene 25 


Scene 26 


Enter Leona, Matson and the other two men. Le¬ 
ona enters the hotel, while the three men walk to 
Sheriff’s office and enter. 

Next Morning 

Four horses are brought to the front of the hotel. 

The three men and Leona stand in a group. The 
Proprietor is talking to them as though warning them, 
but they mount the horses and ride away. Fade out 
and INTO 

Exterior. A point on the mountain trail. Night¬ 
fall. Leona, Matson, and the two men are clumsily 
attempting to make camp and prepare a meal. Dia¬ 
phragm down. 

Several days later they realize they are lost 

Exterior. Another part of the mountain trail. 

The same characters as in Scene 23 straggling along 
ride apart, Leona in rear. She arouses herself to find 
the men have disappeared behind a projecting cliff. 
Iris out. 

Exterior. Another part of trail. 

Leona furiously riding alone. She stops, places 
her hand to her mouth, and shouts, then rides on, 
showing by her actions that she is lost. The trail be¬ 
comes more rugged. The sky is overcast and dark¬ 
ness comes. She dismounts, leads her horse a distance, 
then sits down in despair. Iris out. 

Exterior. Another point in the mountains. 

Leona standing, frantically looking down upon her 
horse, which has fallen into a gulch. She cannot reach 
him. The sky begins to lower and darken. The light¬ 
ning streaks the sky. The wind begins to blow. Her 
hat is lifted and carried away on the gale. She stag¬ 
gers down into a ravine following a narrow path. 
The storm breaks in all its fury. She has no shelter, 
and clings close to the side of the cliff. The rain comes 
down in sheets, drenching her. Her wet clothing trips 



144 


PHOTOPLAYS 


Scene 27 
Cut in 

Cut in 


Leader 


Cut in 

Cut in 


her, and is wrapped about her, preventing her walking. 
She clasps her hands, falls face down on the trail with 
the water swirling about her. Fade out and into 

Interior. The same as Scene 18. 

Leona still telling story, speaks 

“After three days of mental and physical torture I 
fell where you found me.” 

She is now silently weeping. Conrad sits staring 
into the flames. Jack comes to her and places his 
head in her lap. She looks at him in surprise, then 
takes his head in her two hands, saying: 

“Surely you are human, you dear animal!” 

Conrad rises, stands for a moment, then passes to 
the bed and examines it. Returning to her he speaks. 
She looks up at him questioningly and glances at the 
bed. He gently helps her to her feet, gathers bear¬ 
skin and blanket about her, leads her to the bed, places 
her snugly in it, draws the robes about her, returns 
to the fire, and makes himself comfortable in one of 
the big chairs. 


The Next Morning 

Conrad softly goes about preparing breakfast. When 
it is ready he takes down the woman’s clothes, 
smoothes them out, and holds them before the fire. 
The woman peeps at him from beneath the robes. As 
he turns toward the bed she pretends to sleep. He 
comes to the bed with the clothing on his arm, hesi¬ 
tates, and softly places them upon the bed. She peeps 
out and laughs at him. In his embarrassment he runs, 
taking the clothing with him. She speaks 

“Don’t take away my clothes. I’m hungry.” 

He comes back, laughing, and places the clothes up¬ 
on the bed, then backs away, saying: 

“Breakfast is ready. I won’t look,” 



PHOTOPLAYS 


145 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


He fools about the fire, while she slips on her cloth¬ 
ing. She comes smilingly forward, and finds a clean 
basin of warm water and a clean towel ready for her. 
She vigorously rolls up the sleeves of the undergar¬ 
ment which he had put on her, speaks 

“Good-morning. You are a good housemaid.” 

Conrad and Jack both cordially greet her and all be¬ 
gin to eat their breakfast. Conrad, arising, goes to 
the door, removes the heavy bar and cautiously opens 
the door, showing it solidly packed to the top with 
snow. He speaks 

“We are snowbound. It may be forty feet deep be¬ 
fore it stops. We are well supplied with all the com¬ 
forts of home.” 

The young woman looks with popping eyes at Con¬ 
rad. He says: 

“While I am sorry for your plight, imagine how kind 
Fate has been to me . We are, accidentally, companion 
prisoners. I will do all in my power to make you com¬ 
fortable till we are released.” 

She looks at him. with a kindly smile, extends her 
hand, and remarks: 

‘T have much to thank you for, we shall be good 
friends. I am not naturally gloomy. For the time 
being you may call me ‘Leona’.” 

They arise from breakfast. Conrad puts his big 
bearskin coat on her, and opens the rear door leading 
into the stable. He shows her their store of wood and 
hay. He has extended the running water into both 
the cabin and the stable. He gives the horses water 
and hay. As they return Leona stops and looks down 
at a large pile of ore, then at Conrad, who tells her: 

“To extract the gold from that is our winter’s 
work.” 

Conrad opens a small door and points to the plunge, 
saying: 



146 


PHOTOPLAYS 


Cut in 


Cut in 

Cut in 

Cut in 


“There is your bath room, with running water.” 

They close the doors of the cabin, and Conrad re¬ 
plenishes the fire, opens a wall cabinet, points to a row 
of books, then goes to a corner and brings out a pack 
of coyote-skins and shows them to Leona pointing to 
his own clothing made of them. He brings a box con¬ 
taining large needles, thread and deerskin thongs.. She 
examines them with childish interest, motioning with 
her hands that she will make herself a coat like his. 
He gets bearskin cap and puts it on her head, points 
to the wall to a small square mirror. She goes to it 
and views herself, adjusting the cap and laughing. 
Conrad arranges the big bear rug in the chair, invites 
her to be seated. Then he takes from a cabinet a 
violin. She looks much pleased and surprised. He 
stands and plays for her, and she applauds. Jack is 
frantic with delight. Conrad calls attention to this, 
and begins to play and they watch Jack, who exhibits 
the greatest emotion. He comes and places his head 
upon Leona’s lap. She pets and makes much over him. 
Conrad returns the violin to its case. He brings a 
mortar and pestle, seats himself upon a low stool, and 
begins to crush gold ore. Leona stoops over the mor¬ 
tar interestedly. She looks covertly at Conrad, as 
she leans back in the big chair. She speaks 

“You have not told me your name. What shall I 
call you?” 

Conrad looks up at her amusedly, asks: 

“Do you want to know my real name?” 

Leona nods. Conrad replies: 

“It is only fair that I tell you the truth now. My 
name is Conrad Alderson. You may call me 'Conrad’.” 

Leona clasps her hands. He does not notice her 
shrink back deep in her chair and stare at him. He 
places the mortar against the wall, leans with his arms 
across his knees, and stares into the fire, while he be¬ 
gins to tell her the story. Fade out and into 



PHOTOPLAYS 


147 


Scene 28 


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Scene 29 


Interior. A sumptuous office. 

William Alderson and the two Matsons in. One 
seems to be very angry with Alderson, pounding upon 
the table while addressing him. Wilbur Matson 
speaks 

“I say it is damned meanness on your part, Alderson, 
that you do not let us in on this mining proposition. 
When you left our employ it was with the excuse that 
your wife was dying of consumption. Now you come 
back here with a rich mine on your hands. Where do 
we come in?” 

Alderson looks down at them with puzzled and em¬ 
barrassed stare; speaks 

“Mr. Matson, I am puzzled to understand your at¬ 
titude toward me. My poor wife died. It was by 
the merest good fortune that I struck a rich vein of 
gold ore. You in no manner contributed to this. I 
have a right to reserve this for my son Conrad, who 
has just finished his engineering course.” 

Wilbur Matson arises, shakes his finger in Alder- 
son’s face, saying: 

“You were in our employ for twenty years. Does 
that give us no right to consideration. Well, then, 
your accounts were short thirty thousand dollars. 
Make good.” 

Alderson expresses sudden rage, speaks 

“That is a damned lie, and my son will make you 
eat your slanderous words. You, yourself, are a thief 
and embezzler.” 

Alderson picks up his hat and leaves the office. 
One of the Matsons shakes his head and scolds his 
brother, who now exhibits alarm. 

Interior. Small room in hotel. 

Alderson and his son Conrad looking over map 
spread upon the table. Alderson is talking to Conrad, 

Alderson speaks 



148 


PHOTOPLAYS 


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Scenic 30 

Insert 

Scare-Head 


Scene 31 

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“My son, it is perhaps the richest piece of gold prop¬ 
erty in the Sunset range. I am too old to attempt to 
go there again. I give it to you. These papers are 
not recorded. You must have them recorded, to pro¬ 
tect the mine.” 

They converse, Alderson replaces the papers in his 
pocket, and Conrad leaves the room. Enter Wilbur 
Matson. He pulls a chair to the table and begins to 
talk to Alderson, who waves him away angrily. Mat- 
son arises and grasps Alderson by the collar. Alderson 
strikes him in the face. Matson presses him down 
upon the table, choking him. The door opens, and 
Conrad enters. He looks with astonishment at what 
is happening. Breaking away from Matson's grasp, 
the father seizes a chair, and fells him. Matson drops 
to the floor as though dead. Alderson takes the papers 
from his pocket, thrusts them into Conrad's hands, and 
pushes him toward the door, saying: 

“Go, my son, I will take care of myself. Don't argue, 
go!” 

Interior. A small restaurant. 

Conrad Alderson in. Opens morning paper, reads. 
scare head 


Strange Tragedy 

Dead Bodies oe William Alderson and 
Wilbur Matson 

FOUND IN HOTED ROOM 

EVIDENCES OE A STRUGGLE, WHICH RESULTED IN DEATH 
TO BOTH 


Conrad, in great excitement leaves restaurant. Cut 
to 

Interior. Office of George Matson. 

Enter David Alderson, who says: 

“I am the brother of William Alderson.” 



PHOTOPLAYS 


149 


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Scene: 32 

p*r 

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Matson springs to his feet, speaks 

“And PH hang that son of his for the murder of 
my brother.” 

Alderson replies: 

“Your brother’s son is confidential clerk in a bank 
where I also am employed. He has permitted your 
brother to overdraw his account one hundred and six¬ 
ty thousand dollars. He is bankrupt. Are you going 
to prosecute my nephew?” 

Matson stares at David Alderson in amazement, 
drops into a chair and places his arms upon the table; 
looking at Alderson he speaks 

"I am sorry. I will make good my nephew’s short¬ 
age. I was fearful of this. I shall let the matter drop.” 

David Alderson starts to leave as Scene fades into 

Interior. Same as Scene 27. 

Conrad and Leona sit staring into the fire. Conrad 
speaks 

“I went to my Uncle and told him the truth. He 
advised me to come West. I do not feel that I have 
been wholly alone. My mother’s grave is up there 
under the cliff, where the snow never falls.” 

Leona is deep down in her chair. Conrad leans over 
and looks into her face. She is weeping. Conrad 
comes to her side, places his hand on her shoulder, 
speaks 

“Why do you weep, Leona?” 

She covers her face with her hands and sobs. Con¬ 
rad stands, looking down upon her. She at length 
speaks 

“Wilbur Matson was my uncle.” 

Conrad takes her hand in his and stands staring in¬ 
to the flames. He turns to her and speaks 



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PHOTOPLAYS 


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“Leona, my conscience is clear. I in no manner 
contributed to his death. My uncle, too, has subse¬ 
quently died. I am happier here with my mother.” 

She does not withdraw her hand. Leaning earnestly 
forward, she speaks 

“I have no blame for you, but father always be¬ 
lieved that you killed his brother. He made good the 
loss to the bank and it also bankrupted him. We 
came here with two detectives, searching for you.” 

Conrad looks startled. He turns sharply and looks 
down upon her, asking: 

“And do you believe me a murderer at heart?” 

Leona arises, places her hand on Conrad’s shoulder, 
and replies: 

“Conrad, I have found you a man. I have good rea¬ 
sons for believing you would not do a criminal act. 
I do not share in my father’s hate. I fear he has lost 
his life seeking you. If so, I am alone and homeless, 
Conrad, I am at your mercy. Punish me for my 
father’s sins against you.” 

Conrad takes her by the shoulders and looks stead¬ 
fastly into her face. He gently places her again in the 
chair, goes to a cabinet, brings a photograph and 
hands it to her, then he speaks 

“Leona, do you think that good woman would have 
a son who would purposely do crime? This is my 
mother.” 

Hands photograph to Leona, who looks at it; 

Photograph of a good-faced elderly woman. 

Leona gazes earnestly at the picture, and presses 
it to her bosom. Conrad speaks 

“Let us forget our sorrows, Leona. We are be¬ 
ginning our new life. Let us see if we have contri¬ 
buted to each other’s peace and happiness.” 




PHOTOPLAYS 


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Scene 33. 


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151 


Naturae retribution is more just than the re¬ 
wards AND PUNISHMENTS OP THE EAW, BECAUSE THE 
Great Judge op aee may not be bribed or coerced 
in rendering his decisions. His judgment was 

CONFIRMED BY WEEKS AND MONTHS OP HAPPINESS. 

Interior. Same as Scene 27. . 

Conrad as usual going about preparing the morning- 
meal. When it ready he slips to the bedside and stands 
looking down, upon Leona, who is sleeping peacefully. 
He leans over her and pinches her cheek. She reaches 
up her hands and pulls his ears. He pretends as though 
he would pull the robes off her, and she holds them 
tight. He speaks 

“Wake up sleepy-head,—spring is coming. I hear 
a robin’s call.” 

She sits up and makes a face at him. He laughs 
and returns to his task. Leona swings her feet out 
of the bed, and slips them into deep, warm moccasins. 
She speaks 

“I don’t care if spring never comes.” 

Conrad is leaning over the coals, frying bacon. He 
raises up and looks over his shoulder, saying: 

“Watch your step, there. This is the last of the 
bacon.” 

Leona scampers to the fireplace and holds out her 
hands towards the fire. Conrad flops a piece of bacon 
in the pan, and the hot grease spatters on to Leona’s 
hands. She snatches them away and rubs them. Con¬ 
rad sets the pan aside, seizes her hands and examines 
them;, then kisses them, holding them fast in his own. 
She looks up sheepishly and hangs her head. He 
drops her hands, picks up the pan, and places it on the 
table. She watches him covertly. He reaches for the 
coffee pot. Leona reaches out her hand and grasps 
his and pulls him back, saying: 

“Conrad, you are a good housekeeper, but a bash¬ 
ful lover. Why did you kiss my hands ?” 


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152 


PHOTOPLAYS 


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Conrad looks up, grins sheepishly, then speaks 

“Oh that’s a good old home remedy for hurts.” 

She puts her hands on his shoulders, squares him 
around facing her, and says: 

“And I know a good old home remedy for bash¬ 
fulness.” 

She clasps her arms about his neck, and they tussle 
until she kisses him on the lips. Like two happy, 
teasing children they eat their breakfast. 

Springtime is mating time,—au, nature re¬ 
sponds 

As they sit opposite each other at table, Conrad 
says: 

“You are the first person daring to break into my 
privacy here. I am the law. I dislike to punish you, 
but you deserve it. I give you the chance to plead 
guilty.” 

Leona looks questioningly at Conrad, saying: 

“Yes, I am guilty of your charge. I throw myself 
upon your mercy, Judge.” 

Conrad comes to her and bids her stand up and re¬ 
ceive sentence, speaks 

“Then I sentence you to spend the balance of your 
life as my wife,—sentence to begin as soon as we can 
dig out and find a preacher. Do you wish to appeal 
the case?” 

Leona, glowing with joy, replies: 

“No, I’ll take my punishment like a woman, but 
what I want to know is,—why you have not made love 
to me so I could hold something against you?” 

They embrace and kiss. Conrad passes to the door, 
gently removes the bar, and opens the door. The snow 



PHOTOPLAYS 


153 


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Scenk 34 


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Scene 35 


Scene 36 
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is almost melted away. The sun floods the room. The 
robins are warbling in the pines. Conrad speaks 

Your prison door is open. It will snow no more. 
D<o you want your freedom ?” 

Leona springs at him and in mock anguish hanging 
about his neck, pleading to stay, with; 

Drive me not out good jailer,—I love your bacon 
and beans, and Jack—and—and you!” 

Conrad takes her in his arms and kisses her. They 
take long-handled shovels and dig away the snow, 
opening a wide path in front of the door. Iris out. 

Exterior. Same as Scene 6. 

The doors and windows of the cabin are open. 
The snow has left the flat, exposing a green sod. The 
water is seen in the lake, and the fall is now a torrent. 
The squirrels are in the trees. Robins are flitting 
about. The hungry magpies are squawking about the 
cabin. The horses are grazing. 

Conrad and Leona stand at the door, with gun, 
pick, shovel and sack. Jack is capering about them. 
Conrad speaks 

“Spring is here, sweetheart. Isn’t it glorious?” 

Leona throws a kiss at the sun and they walk up 
into the gulch, as Diaphragm closes. . 

Exterior. Same as Scene 10. 

Leona and Conrad in. They pick off the ore, fill the 
bag, and Conrad places it upon his back. Leona carries 
the gun and the pick and Conrad carries the shovel, as 
they start on their way to the cabin. Cut to 

Interior. Same as Scene 27. 

Conrad and Leona in. Conrad speaks 

“I have sixty thousand dollars in Bank at Boise, and 
we will take out with us forty thousand more. I will 
record the claims, and we will return here for the 
summer.” 



154 


PHOTOPLAYS 


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Leona cocks her head, looks at him, and asks: 

“And our winters ?” 

Conrad puts down the bag, puts his arms about Le¬ 
ona, speaks 

“Mr. and Mrs. Conrad Alderson have taken a bung¬ 
alow for the winter in Los Angeles, to escape the rigor¬ 
ous winter of the Saw-Tooth Mountains. ,, 

They embrace as Diaphragm goes down and out. 



THE BRAND OF CAIN 



PRINCIPAL CHARACTERS 

Martin Lake .President, N. D. & T. 

David Blanton .General Manager, N. D. & T. 

Heavy 

Elbert Geoeery .Largest Stockholder 

George Geoefry .Son of Elbert Geoffry: Male Lead 

David Blanton,* Jr .Son of the General Manager, Sec¬ 

ond Heavy 

Miss Kates .David Blanton’s Secretary 

Senator Horace BrailEy .... David Blanton’s Agent 

Judge John Holcomb .Elbert Geoffry’s Lawyer 

Jim Haven .Elbert Geoffry’s Confidential Clerk 

Bessie Lake .Martin Lake’s Daughter, Female 

Lead 

Mrs. Lake .Bessie’s Mother 

Judge Avery .Elbert Geoffry’s Attorney 

Mine Boss, Coroner, Detectives, 
etc., etc. 

SYNOPSIS 

The extension of the N. D. and T. Railway to the town of Dent 
brings about remarkable things. 

The Dent Agency is tendered to David Blanton, Jr. His father 
objects. Elbert Geoffry desires the position for his son George, 
who is appointed instead of Dave Jr. The new branch opens up 
large business opportunities. There is an agreement between the 
promoters of the road that no one of them will seek personally to 
profit or benefit by such opportunities. 

Geoffry learns that Blanton is secretly attempting to get options 
on large tracts of coal lands tapped. Blanton entrusts the option 
forms to his wayward son, Dave Jr., to take them to his agent at 
Dent, Senator Horace Brailey. Dave Jr. prevails upon George 
Geoffry to go to Dent for him, in order that he himself may keep 
a dinner engagement with chorus girls. 

Geoffry mentions this to his father, who in his rage reveals to 
George the duplicity of Blanton. They tamper with the docu- 

157 













158 


PHOTOPLAYS 


merits and delay their delivery until George and Jim Haven, his 
confidential clerk, can go to Dent and with the aid of Judge Avery 
secure the options sought by Blanton. 

The options are taken in Jim Haven’s name and endorsed over 
to the N. D. & T. Senator Brailey advises Blanton that options are 
recorded in Haven’s name. Blanton upon learning this goes to 
Geofifry’s office in anger, and demands that the Haven options be 
turned over to him. They quarrel- George upon his return in¬ 
forms his father that they can live very comfortably at Dent. And 
they arrange to go there. 

Dave Jr. is sweet on Bessis, so is George, in a less aggressive way. 
They all meet in Martin Lake’s office, and George invites Mrs. Lake 
and Bessie to join him and his mother on a drive to Dent. 

Dave Jr. inadvertently admits in the presence of his father that 
he did not go to Dent with the papers for Senator Brailey. His 
father orders him to his office, and they have serious quarrel. 

After road is completed to Dent, and George is located there, 
a party is made up to pay him a surprise visit, the party includes 
President Lake, Mrs. Lake, Bessie, and both the Blantons. 

Upon arrival there David Blanton, Sr. disappears without greet¬ 
ing George. His actions are so mysterious that Martin Lake and 
George go to see what he is up to. They find him at a small coal 
mine, which is being opened up under the supervision of Elbert 
Geoffry. They cannot find Mr. Geoffry, therefore, calling the mine 
boss, they have him draw up a hand hoist and they find Mr. Geof- 
fry’s dead body, still warm, lying across the hoist. 

They send for the Coroner and the body is removed to the town. 
Blanton’s actions are so suspicious that George insists that he be 
detained in Dent until after the Coroner’s verdict, but Blanton 
returns to New York by auto. 

George employs experts and detectives and they clearly demon¬ 
strate a murder, with suspicion pointing to Blanton. President 
Lake takes offense at George’s attitude, quarrels with him,, and 
takes Mrs. Lake and Bessie back to New York, leaving George’s 
mother alone. 

The Coroner renders verdict of murder, turns over evidence to 
Grand Jury, and a secret indictment is rendered against Blanton. 
Blanton and Lake consult, and in the midst of his grief, George is 
ordered to report at the New York office to resign his agency. 




PHOTOPLAYS 


159 


A meeting of the Board of Directors is in session. Judge Avery, 
of Dent, and the prosecuting attorney appear, and demanding a 
hearing an exciting scene before the Board ensues. 

The Sheriff and deputies are called in, and Blanton is put 
under arrest. Morning papers filled with scare-heads about the 
murder of rich financier by prominent railroad official who es¬ 
capes custody and disappears. 

Lake sends for George, makes humble apology, states that he has 
been made a member of the Board of Directors and elected Gen¬ 
eral Manager of the N. D. &. T., instead of Blanton. 

He shows to George a letter from Blanton that says: 

It is hard to step out into darkness with the brand 
of Cain upon my forehead at any time of life. I have 
done wrong. God bless you and good-bye.” 

DAVID BLANTON. 

Mr. Lake reminds George that his mother is at his house, where 
they will dine that evening, and that Bessie wants to see him. 

The usual pretty agreement between the male and female leads. 





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Scene i 
Sub-title 

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PHOTOPLAYS 161 


CONTINUITY 

“And the Lord set a mark upon Cain, lest any 

FINDING HIM SHOULD KILL HIM.” 

The village of Dent was as clean and pretty as 

AN OLD maid's BONNET. ITS PEOPLE WERE PEACE-LOV¬ 
ING and happy. Marriages, births, and funerals 
were the most exciting events happening in the 

COMMUNITY. The only CRIME WORTH MENTIONING 
THST HAD EVER HAPPENED IN THE VILLAGE WAS THE? 
ROBBING OF THE POST-OFFICE, IN WHICH THIRTY-SEVEN 
DOLLARS WORTH OF STAMPS WERE STOLEN. THEREFORE, 
THE RUMOR THAT A BRANCH OF THE N. D. AND T. WAS 
TO BE BUILT INTO DENT CREATED A SENSATION. 

Interior. Office of the President of the N. D. & 
T., New York. 

Martin Lake, President of the N. D. & T. 

Lake seated at desk in conversation with David 
Blanton, General Manager of the road, and Elbert 
Geoffry, largest stockholder. Blanton shows irrita¬ 
tion and nervousness. Suddenly arises, speaks 

“Well, Martin, I prefer to resign as General Man¬ 
ager rather than have it appear that I oppose your 
plans; but I will not bury my boy in that graveyard. 
I have planned bigger things for him.” 

The President looks good naturedly at the Manager, 
makes a wry face, and laughs, saying: 

“Why, Dave, you talk like a drunken sailor: you 
and I built this road. If one of us left it, the other 
would go crazy We can find a way out of this with¬ 
out quarreling.” 

Mr. Lake extends his hand, and Blanton reluctantly 
takes it. Mr. Geoffry had been twisting a piece c 
paper between his fingers and listening. He tosses Yrfe 
paper wad into the waste basket, looks up at Mr. 
Lake, and speaks 



162 


PHOTOPLAYS 


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“I don’t want to butt into your love-fest, but I 
want to remark that the position of Station Agent at 
Dent is going to be important, and no mistake should 
be made in selecting a man.” 

The President looks interested. Blanton looks at 
Geoffry covertly, and waits for the President to 
speak. Lake says: 

“'What’s the big idea, Elbert?” 

Geoffry slowly arises, faces the other two men’ and 
forcefully addresses them with 

“The dead will arise in that graveyard some day, 
and the town will expand with bells on. I wish the 
same opportunity were offered to my son George.” 

Mr. Lake bounds to his feet, and slaps Geoffry on 
the back crying: 

“By Jove! Elbert, you’ve solved the problem. I’ll 
propose George’s name to the directors this after¬ 
noon.” 

Blanton frowns, and looks sullenly at Lake, saying: 

“It seems to me you are hasty about this Dent mat¬ 
ter. It’ll be a month before we will need an agent 
there. In the meantime something might change our 
minds.” 

Blanton reaches for his brief-case. Mr. Lake and 
Mr. Geoffry look sharply at him as he passes out of 
the door, then they sit down. Geoffry speaks 

“Martin, I was the original promoter of this road. 
I am the largest individual stockholder, Therefore I 
feel I have a right to express my opinion freely.” 

Mr. Lake registers surprise, leans toward Mr. Geof¬ 
fry and very earnestly addresses him with 

“No one has a better right, Elbert.” 

Geoffry is emphatic in replying: 



PHOTOPLAYS 


163 


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Scene 2 

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“Well, Martin, I know that Blanton has openly 
opposed this Dent extension, while he has secretly ex¬ 
pressed great elation that it is projected, and has 
agents busy looking over the surrounding lands,—I 
believe, for personal ends.” 

Martin looks disturbed, drums his fingers upon the 
table, and asks: 

•4 

“Is there anything serious in that, Elbert?” 

Mr. Geoffry rises, saying: 

“You surely have not forgotten our agreement 
that none of us would privately seek to profit by the 
operations of this road?” 

Mr. Lake also arises, looks thoughtful, attempts to 
pacify Mr. Geoffry, and speaks 

“I think your suspicions are ungrounded. I have 
confidence in Dave.” 

They walk to the door conversing as Diaphragm 
closes. 

David Blanton, Jr. 

Interior. Office of Manager of Road, David 
Blanton. 

David Jr. in. Leaning over pretty young typist, at¬ 
tempting to caress her. She repulses him. Door 
opens and the father enters. Dave Jr. observes his 
father’s frowning face and quickly stops his love-mak¬ 
ing, approaches his father, speaks 

“Hello, Gov. Why don’t your knock before enter¬ 
ing. You made me bite my tongue.” 

Blanton sullenly takes his seat at his desk, and Dave 
winks at the girl and makes a face. Blanton speaks 

“Sit down here, Dave. I want to talk to you. Miss 
Kates, you are excused till I ring. Don’t let anyone 
disturb me.” 


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164 


PHOTOPLAYS 


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Miss Kates leaves the room. Dave seats himself, 
opens a drawer, takes out a cigar and lights it. 
Blanton goes to a safe, unlocks a drawer, takes out 
some papers, returns, seats himself at the desk* and 
asks: 

“Were you ever in a little town called Dent, Dave?” 

Dave knocks the ashes off his cigar, looks suspici¬ 
ously at his father, who is examining the papers, and 
answers: 

“Never heard of it.” 

The father spreads a map upon the table, speaks 

“Well, I want you to drive out there to-day. This 
map will show you the roads. It is) a five-hour drive, 
if you are not pinched for speeding.” 

Dave frowns, looks disgusted, and stares at the 
end of his cigar, as he answers : 

“That’s pretty hard, Dad, I’ve an important en¬ 
gagement on for to-night.” 

Blaton makes an impatient gesture, speaks 

“Forget your engagement. This is urgent business. 
You must deliver these papers to Senator Horace 
Brailey to-day.” 

Dave dashes his cigar away, looks at his wrist watch, 
takes up his hat, and stands by the desk while his 
father paces the papers in an envelope and seales it. 
Blanton hands him the packet, folds up the map, 
and gives it to him. Dave takes them and places them 
in his pocket, asking: 

“Is that all?” 

Blanton thinks a moment, then says: 

“Yes, that’s all, the enclosed leetter will explain to 
Senator Brailey.” 

He places his hand upon Dave’s shoulder, and ac¬ 
companies him to the door, speaks 



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PHOTOPLAYS 165 


“Be careful, son.” 

Interior. Lobby of Same Building. Elevator 
door showing. 

George Geoeery. 

George standing waiting for elevator. Elevator door 
opens, Dave steps out, sees George. He pushes him 
back, crying: 

“Hello, George! Say, old top, you’re an inspira¬ 
tion ! Do me a favor I’ll do something for you.” 

He jostles George about, to his great discomfort. 
George speaks 

“Oh, wait a minute, Dave, get your breath! What’s 
troubling you?” 

Dave continues to shuffle about and pull George’s 
coat lapel, speaks 

“It’s this, old chap, Dad wants me to drive to some 
place called Dent and take some papers to- to-” 

Fumbles in his pocket and brings out the papers, 
continues: 

“—To Senator Brailey, and I’ve got a dinner on 
to-night with the dearest bunch of chickens. Oh, gee! 
boy, I can’t disappoint them.” 

George smiles broadly, saying: 

“Oh, I see,—you want me to keep your dinner en¬ 
gagement and see that the chickens get to roost.” 

Dave throws up his hands, crying: 

“No! No! I want you to drive to Dent for me. It’s 
only five hours’ drive.” 

Dave thrusts the papers into George’s hands, shows 
him the map, speaks 

“Here’s the road on this map- You’ll do this for 
me, I know.” 


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166 


PHOTOPLAYS 


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Scene 4 

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George looks at his watch, speaks 

“I can’t get back to-night. Is there a decent place 
to stay overnight.” 

Dave pats George on the back, saying: 

“Bully little hotel there!—fine little town!” 

George looks amusedly at Dave, and replies: 

“All right, Dave, I’ll do this for you. But what 
are your instructions?” 

Dave takes George’s hand in both his own, shakes 
it hard, and speaks 

“Thanks, old top. Just deliver the letter to Senator 
Brailey. He doesn’t know either of us. You needn’t 
put him wise,—see? Good-bye.” 

Dave rushes out of the building and George looks 
after him laughing. Iris out. 

Interior. Elbert Geoffery’s Office 

Geoffry sitting at desk. George enters, and is cor¬ 
dially greeted by his father. 

“George, I have something important to say to you. 
You know we are building an extension of the N. D. 
& T. to Dent.” 

George looks surprised and nods. Geoffrey con¬ 
tinues : 

“How would you like to be a country agent for a 
while,— with something big back of the job?” 

George cocks his head to one side, smiles, and 
speaks 

“Dad, if you give me the job, I’ll ask no questions. 
Dent is only five hours’ drive from here. I’m going 
to run down there this afternoon.” 

Geoffry looks up, startled, adjusts his glasses, stares 
at George and exclaims: 



PHOTOPLAYS 


167 


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Scene 3 


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Scene j 

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Insert 

eetter 


“Eh? you are going to Dent! What for?” 

George notes the surprise registered on his father’s 
face, and he draws the packet from his pocket, which 
he places before his father upon the desk, as he talks. 

To illustrate George’s words, Dave giving George 
the package* Fade back to Scene 4. 

Mr. Geoffry examines the packet, starts with aston¬ 
ishment, clinches his hand, looks at his son, stares at 
the packet again, and speaks 

“George, if ever fate favored me, it is now. You 
do not know the importance of this strange coinci¬ 
dence ; listen 

As Geoffry relates what occurred at time that the 
Dent agency was declined by Dave’s father. Fade 
out as Geoffry speaks 

“Now, George, there is something crooked going 
on. I’m going to know the contents of this envelope 
before you deliver it.” 

George looks startled, saying: 

“Why, Father, wouldn’t that be betraying a con¬ 
fidence ?” 

The father looks at his son, smiles, and replies: 

“I’m glad to have you say that, George; but if that 
confidence means a betrayal of a greater trust and 
great loss to our company, would you think it wrong 
to know the truth?” 

George shakes his head. Geoffry opens the envel¬ 
ope and withdraws the contents. He takes the letter 
addressed to Senator Brailey and hands it to George. 

My dear Senator: 

That old skinflint Geoffry is forcing our hand. I 
am afraid to hold off longer. The showing of coal 
is sufficient, I think, to justify our taking six months’ 
option. 



168 


PHOTOPLAYS 


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Sub titue 


I am enclosing plats of the four tracts and properly 
draw options. Close the deal at once, at the lowest 
cost, and advise me. 

Yours truly, 

David Beanton. 

Geoffry and George sit looking at each other. The 
father’s face registers deep anger. The son is much 
surprised. The father examines the papers and 
laughs. The son leans over and is interested- The 
father reaches for the telephone and puts in a call, 
then speaks 

“Judge Holcomb? This is Geoffry. Can you run 
over to my office for a few minutes. It’s very im¬ 
portant ?” 

Geoffry hangs up receiver, and rubs his hands,— 
pushes a button. His secretary enters. He hands her 
four sheets of paper with instructions. He and George 
examine the plat and make memoranda. Door is 
quickly opened. Enter Judge John Holcomb,—Geof¬ 
fry’s private lawyer. They converse together,—Geof¬ 
fry showing to Judge Holcomb the envelope addressed 
to Senator Brailey and the papers, pointing to George 
as he talks. The Judge falls back in his chair and 
laughs heartily. The Secretary comes in and hands 
options to Mr. Geoffry, who hands them, one at a time, 
to Judge Holcomb. The Judge wags his head as he 
examines them, and says: 

“These options are transferrable. I’ll give George 
a letter to Judge Avery of Dent. Take the options in 
Jim Haven’s name.” 

Geoffry pushes a button. Haven enters. 

Jim Haven 

A tall, soldierly cadaver with white hair and big- 
rimmed nose-glasses attached to a wide tape. Stands 
erect and bows. Judge Holcomb looks at him, 
laughs, and says: 



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Scene 5 


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Sub titee 
Scene 6 


PHOTOPLAYS 169 


“Jim, you rogue, you look like ye old-time Baptist 
preacher. You exactly fit the job in hand.” 

Jim bows stiffly like a butler. The Judge begins 
to write a note. Geoffry explains to Jim, who listens 
intently, looking at George as Mr. Geoff ry emphasizes 
his reference to him by pointing his finger Jim bows 
and hurries out of the office. The Judge hands the 
note to Geoff ry, who reads it and passes it to George 
who hands it back to his father, who places it in an 
envelope. Geoffry replaces the original papers in the 
Brailey cover, and carefully re-seals it. He picks up 
the options and hands all to George who quickly looks 
them over and places them in his pocket, and arises. 
Geoffry arises, places his hand on George’s shoulder, 
saying: 

“Get your options first, then deliver the papers to 
Senator Brailey by messenger.” 

George leaves the room. The Judge has arisen. 
He and Geoffry stand and talk as Diaphragm ceoses. 

The Next Afternoon 

Interior. Same as Scene 4. 

Elbert Geoffry seated at desk. George and Jim 
Haven enter. George places the options on the desk. 
Geoffrey gleefully shakes both their hands. After a 
few moments’ talk Jim retires. George speaks 

“Dent isn’t such a bad place, Dad; I can be very 
comfortable there.” 

Geoffry laughs, saying: 

“You needn’t let that worry you, my boy, you’ll 
have an understudy to do your work while you are de¬ 
veloping the town. You’d better go get some rest 
now.” 

Mrs. Martin Lake and Miss Bessie Lake 

Interior. Same as Scene i. 



170 


PHOTOPLAYS 


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Mrs. Lake and Bessie,—handsome elderly lady 
and young lady,—seated in conversation. Clerk en¬ 
ters, speaks 

“Mr. Lake will come in a few minutes; the board 
meeting is about ended.” 

Clerk retires. Enter Mr. Lake, Mr. Blanton, and 
Mr. Geoffry. Geoiffry greets the ladies cordially. 
Mr. Lake takes his chair at his desk, and Bessie stands 
by him, Lake asks: 

“Bess, did you ever meet a real country-town sta¬ 
tion agent?” 

Bessie looks surprisedly at her father, and shakes 
her head. Lake speaks 

“We’ve just selected one for our new station at 
Dent* I’ll introduce him.” 

Enter George Geoffry and Dave Blanton. Dave 
rushes over to Mrs. Dent and shakes hands, then 
turns to Bessie, who greets him rather stiffly. Lake 
takes hold of George’s arm, and leads him forward, 
saying: 

“Ladies, allow me to present Mr. George Geoffry, 
our station agent at Dent.” 

Manager Blanton smiles disdainfully, and makes 
a grimace. Bessie holds her breath and makes a 
funny face, saying: 

“Why, George, you disappoint me! I thought 
father was going to introduce a real hayseed.” 

George greets both Bessie and her mother cordi¬ 
ally,—both congratulating him. Dave shows impati¬ 
ence because they seem to neglect him for George. 
Dave speaks 

“He'll be hayseed enough when he gets to hustling 
beans down in that hole-” 

Mr. Lake turns upon Dave, asks: 



PHOTOPLAYS 


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Scene 7 


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171 


“What do you know about Dent? Were you ever 
there, Dave.” 

Dave acts like a spoiled boy, as he replies: 

“No, and I hope I never shall see the place. Lit¬ 
tle old New York is good enough for me.” 

Blanton perceptibly starts, stares at Dave, looks 
confused and nervous, speaks 

“I must get to my office, Martin. Dave, come with 
me. I want to see you before you go uptown.” 

Dave and Blanton pass out of office. Lake and 
Geoffry examine some papers. George turns to Mrs. 
Lake, saying: 

“Mother and I are going to run down to Dent and 
locate a place for us to live. Why can’t you and 
Bessie join us? It’s a fine all-day drive there and 
back.” 

Bessie goes into ecstasies, and urges Mrs. Lake to 
accept. Mrs. Lake speaks to Mr. Lake. He and Mr. 
Geoffry pause and listen to her. Mr. Geoffry smiles, 
and Mr. Lake bows his approval. Iris out. 

Interior. Same as Scene 2. 

Enter Blanton and Dave. 

Blanton closes door and looks at Dave. Dave looks 
alarmed at his father’s actions. Blanton speaks: 

“Dave, I don’t know whether you are a fool or very 
wise.” 

Dave looks at his father with surprise, Blanton asks: 

“What did you mean by saying you have never been 
in Dent. Didn’t you deliver that letter to Senator 
Brailey?” 

Dave manifests guilty alarm at this grave situa¬ 
tion. Hangs his head and does not reply. Blanton 
savagely seizes him by the arm and shakes him, com¬ 
manding : 




172 


PHOTOPLAYS 


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Insert 

eetter 


“Speak, you fool!” 

With great embarrassment Dave attempts to explain, 
speaking 

“Well, Dad, you see I’d have been socially ruined 
had I flunked my dinner engagement that night. I 
met George Geoffry, who was going that way, and 
I asked him to deliver the letter to the Senator.” 

Blanton throws up his hands, clenches his fists 
over Dave’s head, and Dave steps back in alarm. 
Blanton cries: 

“Why was I cursed with such an offspring? You 
have probably delivered me into the hands of my 
enemies.” 

Dave suddenly braces up, showing anger. Pointing 
his finger at his father, he takes a resentful stand, 
saying: 

“Who made me a fool? Your are my father. You 
let me run wild. You never confided in me.. You 
never taught me anything about business. I’m no 
mind-reader. Why didn’t you tell me how important 
this was? Think it over.” 

Dave thrusts his hat upon his head and leaves 
office. Blanton seats himself at desk. Clerk enters 
with letters. Manager Blanton looks over letters, 
selects one, opens, and reads it. 

David Beanton, Esq., 

Gen. Mgr. N. D. T. R. R. 

New York, N. Y. 

Dear Sir: 

“I have made every effort to carry out your in¬ 
structions regarding the options. I have been unable 
to get any hearing with any of the parties. Judge 
Avery is the attorney for all of their interests. I 
suspect someone has anticipated us. A report is in 



PHOTOPLAYS 


173 


Insert 

Telegram 


Scene 8 


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Cut in 


circulation here that a second large coal strike has 
been made on one of the properties. 

“I await your further advice. 

Very truly, 

Horace BrailEy. 

Blanton slowly lays the letter upon the table and 
assumes an attitude of dejection. Clerk enters and 
hands him a telegram. Blanton opens telegram and 
reads it. 

David Blanton, 

New York, N. Y. 

“Options on all properties recorded in name of 
James Haven to-day. 

H. B. 

Blanton springs to his feet, seizes his hat and leaves 
office. 

Interior. Same as Scene 4. 

Geoffery seated at desk with papers. Clerk brings 
in card. Geoffry Smiles, nods to Clark. Enter David 
Blanton, who tosses his hat upon a desk and comes 
over to Geoffry’s desk Blanton’s face exhibits sur¬ 
passed anger. He speaks 

“Mr. Geoffry, you have a man in your employ named 
James Haven ?” 

Geoffry nods, and tosses his glasses up and down 
as he calmly surveys Blanton. Blanton, still standing, 
nods his head toward the outer office. Geoffry presses 
a button. Jim Haven comes in, stands up like a soldier, 
with his big eyeglasses on his nose. Blanton hands 
telegram to Geoffry. Flash telegram erom brailEy. 

Geoffry reads telegram, looks at Blanton, then winks 
at Jim and hands him the telegram, Blanton glares at 
Jim, points his finger at him, saying: 

“I want you to explain the meaning of that.” 

Jim coolly removes his glasses, elevates his eyebrows, 
stands erect, and speaks 



174 


PHOTOPLAYS 


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“How can my private transactions possibly concern 
you, Mr. Blanton.” 

Blanton in suppressed rage utters: 

“This does concern me. I had oral options on these 
properties and you butt into my affairs. Now, I want 
you to produce these options.” 

Geoffry quietly listens. Jim replaces his glasses, 
hands the telegram back to Geoffry, and half turns to 
leave the office, saying: 

“It appears to me, Mr. Blanton, that you are 
overstepping the bounds of propriety. I do not care 
to discuss with you my business, which concerns 
you not in the least.” 

Jim leaves the room. Geoffry looks at Blanton, and 
then asks: 

“What’s it all about, Dave?” 

Blanton, unappeased, looks earnestly at Geoffry and 
hesitates. Geoffry continues: 

“Spit it out, Dave, what is it?” 

“Has Jim endorsed over to you these options on 
certain tracts of land down at Dent?” 

Geoffry, springs forward, half arising from his 
chair. Registers anger, speaks 

“What, You sit there and tell me you have been 
taking options on lands at Dent, and now question 
me about the same thing! This requires extraordi¬ 
nary nerve, Dave.” 

Blanton does not answer but arises, takes up his 
hat, speaks 

“I’ll place this before the Board of Directors to¬ 
morrow.” 

Geoffry laughs, saying: 

“Yes, I think I would, Dave, if I were you,” 



PHOTOPLAYS 


175 


Scene 9 


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Scene 10 


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Geoffry turns to the papers on his desk. Blanton 
hesitates, then turns and leaves office. Cut to 

Exterior. View of Martin Lakes City Residence. 

Automobile draws up to front. George Geoffry 
alights. His mother, in car, remains seated. The 
house door opens and Bessie Lake comes running to 
the car. Her mother follows,—a servant brings a 
basket. Bessie points to the backet, saying: 

“We’ll picnic on the way.” 

Mrs. Lake takes seat in rear with Mrs. Geoffery. 
George helps Bessie to the seat with him. They drive 
away as Diaphragm Seowey Ceoses. 

Exterior. Scene on Country Road 

George, with Bessie and Mrs. Lake, drives automo¬ 
bile into open field to the shade of a spreading tree. 
All alight and begin to prepare for luncheon. After 
George and Bessie stroll away, George showing only 
the courtesies of a gallant, but tenderly watching 
over her. They sit by a brook and watch it. Bessie 
is filled with joy. George speaks 

“Bessie, this is the first real party we have ever had, 
and I feel like a boy playing hookey.” 

Bessie laughs and looks pleased, as she replies: 

“It’s rather nice to be out here alone! Don’t you 
think so, George?” 

George casts a stone into the brook, then looks at 
Bessie through the corner of his eye, speaks 

“I should say yes. It wouldn’t be so bad out there 
at Dent, if I could see you every day. Gee,—but that 
would be nice!” 

George kicks his heels into the ground, watching 
the stone roll into the brook. Bessie bashfully eyes 
him. George springs to his feet, crying: 

“Hully gee! We are forgetting we have mothers, 
we’d better get back.” 



176 


PHOTOPLAYS 


Sub-title 
Scene ii 


Scene 12 


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Cut in 

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He helps Bessie to her feet, and they hasten back 
to where the mothers are seated. They have repacked 
the basket. George places it in the automobile. They 
take their seats and drive away. 

Six Months Later 

Exterior. A new railway station at Dent. A train 
draws up at the station. A party alights: President 
Lake, General-Manager Blanton, Mrs. Lake, Bessie, 
and Dave. President Lake, Mrs. Lake and Bessie 
hasten inside the station. Blanton draws Dave to one 
side and whispers something to him; Dave nods then 
passes inside and his father steps into an automobile 
and is driven away. 

Interior. Railway Station at Dent. 

Dave enters, following Lake, Mrs. Lake, and Bessie, 
where they are greeted in great surprise by George, 
already in. George turns to shake hands with Dave, 
and asks: 

“Where-is your father, Dave?” 

Dave hesitates, looks toward the door, and answers: 

“Dad? Oh, he grabbed a jitney and went up to the 
bank.” 

George looks surprised, then speaks 

“Why, there’s the only bank in town,—right across 
the street.” 

George excuses himself and goes to the telephone, 
Motions to Mr. Lake and says something to him. 
Mr. Lake looks surprised, walks over to Mrs. Lake, 
and speaks with her. She and Bessie hurriedly go 
out. George and Mr. Lake converse. Dave stands 
aloof. Dave turns toward them, and says: 

“If you gentlemen don’t need me, I’ll go out and 
see the town.” 


Cur in 



PHOTOPLAYS 


177 


Scene 13 


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Scene 14 


Scene 15 


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They nod, and Dave leaves the station. As soon as 
he is gone the others pass out of the station. 

Interior. Dent Bank. 

Enter Mr. Lake and George. George asks for the 
cashier. Cashier meets them at railing, shakes hands, 
opens gate and invites them in. They decline. Lake 
asks: 

“Is Mr. Blanton here?” 

Cashier looks surprised and shakes his head. Lake 
and George thank cashier and go out of bank. 

Exterior. A small frame building with “Office” 
printed over door. Nearby stands automobile. 

George draws up automobile in front of office. 
The chauffeur of the waiting machine is in his seat 
reading a paper. He nods at the driver of George’s 
machine as it drives up. Mr. Lake and George a- 
light and pass into the office. 

Interior. Office at Dent; Mine shaft at rear. 

Blanton and the mine boss are standing talking near 
the shaft at the rear of the office. The boss nods and 
approaches George, who with Mr. Lake comes out of 
rear door. The boss asks: 

“Did you meet your father as you came out.” 

Lake has walked over to Blanton, and turns to 
listen to the boss’s question. The boss looks puzzled, 
glancing from one to the other, rings a bell, and begins 
to wind the hand windlass drawing a cage to the top 
of the shaft. Horror is registered on all faces as the 
basket comes in sight. Hanging across the upper 
framework is a body. 

George springs forward and looks at the face, 
crying: 

“It’s Father!” 

The boss and Mr. Lake lift the body off the cage, 
and bring it into the foreground. Blanton leans over 



178 


PHOTOPLAYS 


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Sub-title 


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to view the face. George drops by the side of the 
body in great distress. Suddenly he looks up, crying: 

“Why, the body is still warm!” 

Lake places his hand upon the chest of the body, 
rises, and shakes his head. He looks sharply at 
Blanton, who stands staring at the corpse. Lake tries 
to comfort George. Lake speaks 

“This is a matter for the Coroner, George.” 

Blanton starts, and registers fear; looks about the 
floor, goes and looks in and about cage. Lake goes to 
telephone, speaks 

“Judge Avery? This is Martin Lake. Get the 
Coroner, and come out to the mine at once.” 

He hangs up the receiver. 

Later 

Judge Avery and the Coroner enter office. The 
group of men are standing about the body of Geoffry. 
The Coroner and the Judge look in open-mouthed 
wonder when they recognize Geoffry. The Coroner 
places his hand beneath Gregory’s arm and looks up 
amazed. He takes a stethscope from his case and 
examines the heart, shakes his head, then asks: 

“Who saw the accident? It must have occurred 
within the past half-hour.” 

The boss is greatly worried. He looks at Blanton. 
Blanton raises his head, saying: 

“I came into the office, and finding no one here, 
went out for the boss. We came back to where you 
found us. He must have fallen just previous to my 
coming.” 

The Coroner takes a statement of the facts, and 
while writing Blanton says something. Lake looks 
sternly at Blanton, and speaks 



PHOTOPLAYS 


179 


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Scene 16 


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Scene 17 


Scene 18 


“It appears to me, Dave, that you owe Mr. Geoffry 
the respect to remain and accompany his body back 
to town. ,, 

Blanton scowls, and doggedly continues toward the 
door, saying: 

“Pm so upset, I can be of no assistance.” 

Blanton passes out of the office. Judge Avery looks 
wisely at George, who starts, and then stares at the 
Judge, who averts his eyes. Cut to. 

Exterior. Same as Scene 14. 

The Coroner’s car is brought to the office door, and 
the body is placed in it. 

The Coroner and Judge Avery put a chain upon 
the shaft cage, and padlock it, then lock the office 
and keep the key. Blanton’s car is gone. As Judge 
Avery places his foot upon the step of the car he 
turns to Lake, and speaks 

“I advise that you prevent Blanton leaving town 
until after the inquest.” 

Lake expresses offended surprise; he stares at the 
Judge then doggedly enters the other car with George 
saying: 

“George, I haven't the heart,—you must break it 
to your mother. Judge, will you look after the legal 
matters ?” 

The Judge nods. Iris out. 

Exterior. Geoffery home. 

George arrives and slowly walks to door. Hesitates, 
then enters. 

Interior. Drawing-room of Geoffry home. 

Mrs Geoffry knitting, Mrs Lake sewing, and Bessie 
playing piano. Enter George, who stops and looks 
embarrassed, his actions indicating great mental dis¬ 
tress. Bessie stops playing, turns about on the piano 
stool, and stares in open-mouthed wonder. Mrs Lake 



i8o 


PHOTOPLAYS 


drops her work in her lap. Mrs. Geoffry places her 
knitting upon the table, slowly arises with staring 
eyes, and extends her hands toward George, asking: 

Cut in “George! What is the matter ?” 

George comes quickly to her, places his arms about 
her. Mrs. Lake and Bessie come close and look with 
alarm at George’s emotion. George at length speaks 

Cut in “Mother! something dreadful has happened at the 

mine.” 

He buries his face upon Mrs. Geoffry’s shoulder. 
She holds him by the shoulders, and exclaims: 

Cut in “God be merciful!—your father?” 

She tries to hold George away, so she can see his 
face. Mrs. Lake is now wringing her hands, and 
Bessie is clinging to her mother. George raises his 
head, takes Mrs. Geoffry’s face in his two hands, and 
says: 

Cut in “Be brave, Mother. Father was killed at the mine.” 

Mrs. Geoffry slips down in a heap upon the floor. 
Mrs. Lake covers her face with her hands and Bessie 
clings to her in affright. George gently lifts his 
mother,—places her upon the couch and summons 
the maid. The maid' and Mrs, Lake now apply them¬ 
selves to bringing Mrs. Geoffry out of her swoon. 
George stands over them. Bessie looks at her affec¬ 
tionately, and pats her on the head. They are startled, 
and listen, looking toward the window. A voice from 
without calls: 

Cut in “Extra! Extra! Mr. Geoffry killed at coal mine! 

Extra!” 

Telephone rings. George goes to telephone and 
motions to Mrs. Lake. Mrs. Lake takes ’phone, 
speaks 

^ j 

Cut in “All right, Martin,—I know how you feel. You 




Sub title 
Scene 19 


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PHOTOPLAYS 181 


remain at the hotel. Bessie and I will stay here and 
comfort Mrs. Geoffry.” 

The next morning. 

Interior. Judge Avery’s office. 

Judge Avery and Lake in conversation. Enter 
George. The two older men arise and are solicitous 
in offering their sympathy. George is in a scowling 
mood and does not seek sympathy. When all are 
seated Lake turns to George, and says: 

“George, we have just come from the Coroner’s 
office. He will render a verdict of accidental death 
this afternoon.” 

George looks up with a startled face, he speaks 

“I think the Coroner is hasty. There are some 
peculiar things which I think should be cleared up 
before a verdict is announced.” 

Lake looks surprised and Judge Avery looks in¬ 
quiringly at George, asking: 

“Why, George, do you suspect foul play?” 

George leans forward and earnestly addresses them 

with 

“Where are the Blantons ?” 

Lake is aroused. He speaks 

“Great God! You don’t couple them with your 
suspicions ?” 

George strikes the table with his fist, replying: 

“I most emphatically do, and when I place the 
facts before Judge Avery, he will justify my attitude. 
Dr. Snell will arrive here at noon, and I want you to 
see to it that a close inspection of my father’s body is 
made.” 



PHOTOPLAYS 


182 


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Sub-TITEE 
Scene 20 


Scene 21 


Scene 22 

Cut in 


Lake makes an impatient gesture and arises. Makes 
a turn across the room, picks up his hat, turns to 
George, and says: 

“George, this is most unfortunate, but I cannot be 
of assistance to you if it is your purpose to accuse 
Dave Blanton of murder.” 

He speaks a few words to Judge Avery, bows to 
George, and leaves the office. George arises and speaks 

“Judge, will you go with me to see the Coroner and 
arrange for Dr. Snell to inspect the body?” 

Judge Avery takes his hat, and they leave the office. 
Later 

Same as Scene 19. 

Judge Avery, Doctor Snell, George, and two detec¬ 
tives enter. The Doctor places his hat on the table, 
seats himself, and writes a report which he hands to 
George. George excitedly reads it, seizes his hat, 
motions to the detectives and the Coroner and they 
all hurry out of the office. Diaphram out. 

Exterior. Same as Scene 14. 

The mine boss is standing at the door of office. 

George, the two detectives, and the Coroner drive 
up in automobile and alight. George introduces the 
strangers to the boss; the Coroner unlocks the office 
door and they all pass in. 

Interior. Same as Scene 15. 

George, the boss, Coroner, and detectives in. The 
cage is carefully examined as the boss explains: 

“This is only a temporary hand-hoist. I can send 
two down at a time.” 

George and one detective enter the cage and are 
sent down the shaft. The other detective and the 
Coroner question the boss. After a while the boss 
looks down the shaft, then he brings the cage up with 
George and the detective in it. They bring up with 



PHOTOPLAYS 


183 


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Scene 23 


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them a short, heavy board with two protuding spikes 
in the end of it, and a crunched piece of paper. They 
place these upon the office table. The Coroner looks 
surprisedly at George. The detectives closely inspect 
the board. One of them points to some hairs clinging 
to the nails. George examines the piece of paper and 
measures the distance between the nails and end of 
board, then he speaks 

“Coroner, this is important,—this is gray hair, and 
the board is spattered with blood.” 

George spreads the paper upon the table. 

Note. The fragment shows the words “opton,” 
“James Haven,” etc. 

George turns to Coroner, speaks 

“This paper is eloquent of a struggle.” 

The Coroner shakes his head as though puzzled, 
says: 

“I’ll not be in a hurry to render a verdict in this 
case.” 

George calling the boss into the room, says: 

“Henry, where do you recollect seeing this board 
last?” 

The boss scratches his head as he looks at the board, 
steps to the rear door and looks toward the shaft, then 
turns in surprise, and answers: 

“Why, that was nailed on the shaft post. I hadn't 
noticed it was gone.” 

All confer as Diaphragm slowly closes. 

Interior. Same as Scene 19. 

Judge Avery and Dr. Snell seated, talking. Enter 
George, the Coroner, and the detectives. George! 
speaks 

“It is important to have Mr. Lake here.” 



i§4 


PHOTOPLAYS 


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Sub-titue 
Scene; 24 


Judge Avery looks startled and confused, speaks 

“Er-huh - Mr. Lake just telephones that he, Mrs. 
Lake, and his daughter have decided to return to New 
York by automobile and have just left your home.” 

George excitedly arises, exhibiting mental distress, 
cries: 

“What, gone! and left my poor mother alone in her 
distress ?” 

Then he points to the board and paper, saying; 

“We have sufficient evidence to turn the case over 
to the prosecuting attorney, Judge. This is a matter 
for the grand jury.” 

The Judge’s attention is called to the telephone; 
he answers, registers excitement, speaks 

What’s that! Why - er- wait, Joe, I’ll come right 
over. Oh, you come here. All right,—bring it with 
you.” 

He hangs up the receiver, looks thoughtfully at the 
others for a moment, fools with his glasses, then says: 

“This is getting serious. The Recorder has just 
stated that a mail request has just reached him to 
restore a mutilated option in the name of Jim Haven.” 

The door opens and a man enters. Judge Avery 
introduces him, and he hands a mutilated paper to the 
Judge. The Judge reaches his hand toward George, 
who gives him the paper found in the shaft. The 
Judge fits them together and looks wisely at the others. 
He reaches for the telephone, saying: 

“We will go to the prosecutor’s office at once.” 
That Evening 

Interior. Same as Scene 18. 

Mrs. Geoffry sitting dejectedly looking out of the 
window and weeping. Enter George. She springs 
up, and he places his arm about her. She asks; 



PHOTOPLAYS 


185 


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Insert 

Letter 


Insert 

Telegram 


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‘‘What did you do, George, to make Mr. Lake so 
angry? Why did they leave me now?” 

George pats her affectionately. 

“There, Mother dear, we must brace up and be 
strong. Mr. Lake will apologize to you for this.” 

His mother goes to a table and picks up a letter and 
hands it to him. George hastily opens the note, 
reads it, and hands it to his mother, who also reads: 

My poor dear George : 

“I did not want to leave your mother in her grief, 
but Father insisted. You have my greatest sympathy. 
I have confidence in you, and shall remain your friend. 

Sympathetically, 

Bessie. 

Mrs Geoffry and George look at each other pleased. 
The maid appears with a telegram. George takes it 
and they read it together. 

George Geoeery, 

Station Agent, 

Dent, N. Y. 

After a conference with President Lake, you are 
instructed to report at the general offices at fthe 
earliest date consistent with your present engagements. 

David Blanton 

G. M. 

Mrs. Geoffry gasps. George looks at the telegram 
in astonishment, then laughs as he speaks 

“Mother, this is intended as a mean insult to us. 
Just watch me make this viper eat dust for the bal¬ 
ance of his life. He murdered my father.” 

Mrs. Geoffry gasps and clings to him, crying: 

“George! What are you saying?” 

George holds her away, speaks 


Cut in 



186 


PHOTOPLAYS 


Cut in 


Scene 25 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


“I am saying the truth, and he will be arrested to¬ 
morrow. We have the evidence.” 

Mrs Geoffry drops into chair and covers her face 
with her hands. George comforts her as Diaphragm 
SEOWEY CEOSES. 

Interior. Directors’ Room N. D. T. Ry. 

Board in session. President Lake presiding. Clerk 
enters with card, presents it to Lake. Lake says a 
few words to the Board. All nod assent. David 
Blanton appears to be restless and uneasy. Lake nods 
to the Clerk, who retires. Enter Judge Avery, the 
Recorder, and the Prosecuting Attorney from Dent. 
They are introduced, and all are seated. Judge Avery 
arises, speaks 

“Gentlemen, Mr. Geoff ry having been summoned 
before the Board for some unknown reason, I wish 
to ask that you postpone action on this case until you 
have considered a much more urgent matter. What 
action have you taken regarding the death of Mr. 
Geoffry’s father?” 

The Directors stare at each other. Blanton leans 
toward Judge Avery, and asks: 

“What action do you think should be taken in a 
case of accidental death?” 

Judge Avery impressively addresses Blanton: 

“By what authority do you assert his death to be 
accidental ?” 

Blanton, in confusion, answers: 

“Why-er-why, the New York newspapers all an¬ 
nounced it an accident. I suppose the Coroner had 
so rendered his verdict.” 

Judge Avery looks coldly into Blanton’s face, speaks 

“This is a strange statement for you to make, Mr. 
Blanton, in view of the fact that someone from your 



PHOTOPLAYS 


187 


office made inquiry of the Coroner last night, and was 
informed that no verdict had been rendered.” 

Blanton arises to his feet and glares at Judge Avery, 
crying: 

Cut in '‘Someone from my office! That is not true.” 

Judge Avery pays no further attention to Blanton, 

but addresses the Board with: 

Cut in ‘‘The Prosecuting Attorney is here, gentlemen, to 

inform you that Mr. Geoffry’s death is a clear case of 
brutal murder.” 

The Board look startled, and stare at one another. 
Lake frowns, and draws Judge Avery’s attention, 
then speaks 

Cut in “Judge, why do you bring this gruesome thing be¬ 

fore this board?” 

Judge Avery draws himself up and points his finger 
at Blanton, as he replies: 

Cut in “Because the grand jury has indicted a member of 

this board for murder in the first degree, and the 
Prosecutor holds a warrant for his arrest.” 

Great consternation ensues, some arise, all stare at 
Blanton. Blanton bounds to his feet, questioning: 

“Do you mean that I am the man accused ?” 

Cut in Judge Avery points to the Prosecutor, speaks 

Cut in “He will answer your question. I have something 

else to say, gentleman.” 

All cease their excited comments to listen. Judge 
Avery dramatically points his finger at Blanton, saying: 

Cut in “This man is also a forger and a swindler. I 

have here the evidence. This coal land was originally 
endorsed over to the N. D. T., by James Haven 
It was turned over with, three others to this man, 
Blanton, as the property of the N. D. & T. Ry. This 



188 


PHOTOPLAYS 


Cut in 


Cut in 


Cut in 


Cut in 


Insert 
Newspaper 
scare head 

Scene 26 


one was held out, and an attempt to have it recorded 
in young Dave Blanton’s name has been made. It 
was this option that caused the murder of Mr. Geoffry.” 

The Directors look at one another. Lake speaks 

“I do not exactly get you, Judge.” 

The Judge reaches over to the desk and picks up a 
large magnifying glass, and asks Lake to examine 
the endorsement on the option. Lake looks up in 
surprise, saying: 

“Why, this option originally endorsed over to this 
company, now is endorsed to Elbert Geoffry.” 

Judge Avery nods. 

“Exactly so, and Blanton was attempting to black¬ 
mail Mr. Geoffry with this clumsy forgery, and 
killed him in his anger. The other evidence is con¬ 
clusive.” 

Judge Avery nods to the prosecutor, who speaks 
to Lake, who touches a button, and two men enter. 
The prosecutor nods toward Blanton. Blanton is put 
under arrest. Judge Avery picks up his hat and bows 
to the Board as he passes out, saying: 

“Gentlemen, you know your duty.” 

The Board sits silently staring at one another. 
Fade out. 


Supposed Accident is Murder 
Prominent Raieroad Official 
Accused of Murder of Elbert Geoffry 
Escapes Custody and Disappears 

Interior. Same as Scene i. 

Lake sits with head bowed, and holds a letter in his 
hand. Clerk enters and speaks to him. He nods and 
clerk retires. George Geoffry enters. Lake arises 
and cordially greets him, motions him to a seat, and 
says: 



PHOTOPLAYS 


189 


Cut in 

Cut in 

Cut in 

Insert 

Letter 


Cut in 
Scene 27 

Scene 27 


“George, I owe you and your mother a humble 
apology. I will make proper amends. But I want to 
talk business now.” 

George exhibits surprise and pleasure, shakes Lake’s 

“The board has elected you General Manager of 
the N. D. & T. Ry. Co. You are now the largest 
stockholder, and I will gladly retire as President in 
your favor when you feel competent to take my place.” 

George exhibits surprise and pleasure, shakes Lake’s 
hand, and starts to leave. Lake presses him back, 
saying: 

“Wait, there’s something esle. I’ll tell your mother 
this evening. You are to dine with us. Read this.” 

He hands to George a letter. 

My dear Martin: 

It is hard to step out into the dark¬ 
ness with the brand of Cain on my forehead at my 
time of life. I have done wrong. I can only say: 
“God bless you and good-bye.” 

Dave. 

Both men sit silently, looking at the floor. Lake 
arises, takes George by the shoulder, and hurries him 
out, saying: 

“Now, you run along! You will find your mother 
at my house. Bessie wants to congratulate you.” 

Exterior. Garden of Martin Lake’s home. 

George and Bessie sitting on garden bench, watch¬ 
ing swans in pool. George puts his arms around Bessie 
and kisses her. Diaphragm back to 

Exterior. Same as Scene 10. 

A vision of the first trip to Dent, where Bessie and 
George are sitting on the bank of the brook. Diaph¬ 
ragm DOWN AND OUT. 










PASSING THROUGH PURGATORY 











PASSING THROUGH PURGATORY 
PRINCIPAL CAST 

Dr. Hugo Cuneiff ....Scientific Investigator: Male Lead. 

Madame Z....Authority in Psychology: Female 

Lead 

Henri JanesET .Artist 

Aebard de LaveeeE ...Artist 

Professor Ploncton .Of the Sorbonne 

MademoisEEEE Brasse .An Artist’s Model 

Katheyn .. .Madame Z’s Companion 

And Others 

SYNOPSIS 

Dr. Cunliff, experimenting in the study of the soul, conceives 
the idea that subjective mind may be brought under control by 
a chemically induced clairvoyance. He goes to Paris to extend his 
investigations at the Sorbonne. Professor Ploncton of the Sorbonne 
visits Cunliff at his laboratioy, and Dr. Cunliff assures the Professor 
he is near his goal. The Professor leaves the laboratory and Cun¬ 
liff locks himself in, takes a potion, lies upon a lounge and dreams 
the following story: 

He is at work in his laboratory. Henri and Albard enter and 
invite him to visit the Palais du Luxembourg, where Henri has 
been awarded the Grand Prix for his masterpiece. As they are 
about to leave, Professor Ploncton enters the laboratory with 
Madame Z. The new arrivals are also invited to view the picture. 

They go to the Luxembourg. Picture is a perfect woman in the 
nude. Hugo declares this picture is alive. Madame Z. warns Cunliff 
that he will be disappointed when he views the living model. 

While the Professor and Madame withdraw to return to the 
Sorbonne, Cunliff and his friends go to a cafe to drink wine. 

Cunliff asks when he is to see the model. Henri invites him to 
reception at his studio, where he exhibits the living model to his 
friends, and where he is introduced to the model, Mademoiselle 
Brasse. 

Cunliff attends a lecture at the Sorbonne by Madame Z. Madame 
Z. converses with him on the subject of the soul. 

193 









194 


PHOTOPLAYS 


She reminds him that he was disappointed with the living model, 
and makes appointment to meet Cunliff at the laboratory, where 
he accuses her of casting a spell over him. She declares she has 
come to help him. She tells him Madame Z. is but a nom de guerre . 

They discuss the effects upon the mind of some poison, and 
agree that they must find an antidote for somo poison in order to 
complete their experiments. Madame Z. asks if he will pass with 
her through a living purgatory, to solve the great problem. He 
agrees to her proposal. She declares that they will magnify the soul 
through the control of the subjective mind, so that it may be visioned, 
photographed, and thrown upon the screen. Dreams, she says, are 
living pictures constructed by the subjective mind. 

They agree to go to the South Sea Islands in search of the anti¬ 
dote for somo poisoning, the conditions being that he shall not 
mingle love-making with the business in hand, and that she shall 
not tempt him as Eve did Adam. 

Henri and Albard at breakfast read of Cunliff’s departure with 
Madame Z. 

The yacht arrives at a tropical island, where they locate. They 
greatly enjoy fishing and bathing in the surf and the Island life. 

Madame Z. is a beautiful woman, and upon Cunliff’s first seeing 
her in a bathing suit he accuses her of vamping him and breaking 
their agreement. 

Cunliff experiments with frogs and rabbits, and discovers by 
accident a small quantity of the antidote. He becomes much enam¬ 
ored of Madame Z. She orders their return to Paris, as they are 
unable to determine the source of the antidote. 

Henri and Albard again at breakfast in Henri’s studio read of 
the return of Cunliff, who calls on them. 

Madame Z. secretly enters Cunliff’s laboratory and tampers 
with his vials. He visits her at her apartment and she asks him if 
he wishes to withdraw from further experimentation. He declares 
that he will go through hell, if she will be his paradise at the end. 

They discuss the workings of the soul. The soul must be purged 
of evil pictures; she tells Hugo that he must be purged, and he 
will review the evil pictures. She places him in a seat and admin¬ 
ister what she believes to be a portion of somo poison, then hypno¬ 
tizes him with a bright metal ball. 

Cunliff’s sleep is but a half-hour. He awakens, and Madame 
Z. is standing over him attempting to administer the antidote. He 




PHOTOPLAYS 


195 


takes it, and becomes temporarily imbecilic, exhibiting the mind 
of a child. Madame Z. shows great grief and alarm, weeps, and 
attempts to bring him back to his normal senses. She observes him 
look at the metal ball, and she realizes that he is unler a hypnotic 
spell. By the use of the ball she brings him out of the spell and he 
becomes himself. He declares that he has seen all the crimes of 
the world. He asks if he is dead or alive. Madame Z. weeps for 
joy, and permits Cunliff to caress her. She says she thought the 
antidote had failed to act. Hugo is amazed, saying he had acci¬ 
dently broken the vial containing both the somo poison, and the anti¬ 
dote. She exclaims that hypnotism is the power they seek, and she 
would prove it. He declares that he passed through purgatory, 
and he claims her as his reward. Shle bids him wait for three days. 

Cunliff visits Madame’s apartment. They are seated, and view 
the pictures of his hypnotic dreams. 

(See Continuity for several horrible scenes that are visible to 
them on the screen.) 

After this exhibit they arise. 

Madame Z. says: “This is the material of which dreams are 
made. Though transmission may be visionized.” 

Cunliff places his arm about Madame Z., saying: And you, 
my good angel, are you, too, a dream.” 

Madame replies: “Yes, Hugo, I am but a vision of your sub¬ 
conscious mind,—your soul,” as she slowly fades away. 

Cunliff is seen casting off the covering and bounding from the 
lounge in his laboratory. He rubs his eyes, looks at his wrist watch, 
and says: “IPs true, after Purgatory comes Hell. They are both 
human inventions.” 









PHOTOPLAYS 


197 


Leader 


Scene i 
Sub-Title 

Cut in 


Close up 


CONTINUITY 

The soul does not sleep ; when the body sleeps 

IT CONSTRUCTS DREAM PICTURES THROUGH THE AGEN¬ 
CY OP THE SUBJECTIVE MIND; DURING OUR WAKING 
HOURS IT HAS ITS FREEDOM THROUGH THE HUMAN 
IMAGINATION. ThE PHYSICAL BODY ALONE SUPPERS 
THE PENALTY OP SOUL ERRORS, RECAUSE THE HUMAN 
IMAGINATION CANNOT CONSTRUCT ENDURING PHYS¬ 
ICAL FORMS, BUT BY MENTAL SUGGESTION IMAGINATIVE 
IDEAS TAKE POSSESSION OP, AND MANIFEST THEM¬ 
SELVES THROUGH OUR PHYSICAL BODIES; HENCE, THE 
ACTS AND TRAITS OP THE BODY BETRAY THE SINS OP THE 
SOUL. 

Hugo Cunliff conceives the idea op studying 

THE WORKINGS OP THE SOUL BY A CHEMICALLY IN¬ 
DUCED AND CONTROLLED CLAIRVOYANCE. HE GOES TO 

Paris and enters the famous Sorbonne Institute 

MORE FULLY TO ELABORATE HIS IDEA. 

Interior. Chemical laboratory. 

Dr. Hugo Cunliff 

Cunliff in,—a handsome, joyous-looking man, re¬ 
sembling more the artist than the scientist,—convers¬ 
ing with Professor Ploncton, speaks 

“I feel that I am near my goal, Professor. I will 
keep you closely advised.” 

Bows the Professor out, and closes and locks the 
laboratory door; goes to a cabinet, takes out a vial, 
drops a single drop into a glass of water, holds it up 
in the light, thinks a moment, then swallows it. He 
puts a tabouret near a lounge, and places thereon a 
tablet of paper and a pencil, then looks about as if con¬ 
sidering whether he had forgotten anything. Placing 
himself upon his back upon the lounge, looks at his 
wrist watch, with hands at 3 o’clock. 

Cunliff draws over his entire person, including face 
and hands, a covering. Fade into 



198 


PHOTOPLAYS 


Scene 2 


Sub-Titee 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Interior. Same as Scene i. 

C'unliff examining test tube. He turns toward the 
door, which is flung wide open. 

Henri Janeset and Aebard de Laveeee. 

Two rollicking young dandies enter. Cunliff greets 
them most cordially, saying: 

“Comment allez-vous, my dear friends? You have 
saved my life. I was just expiring of ennui” 

Albard bows low and waves his hand toward Henri, 
saying: 

“And you, dear Hugo, may reciprocate. The Lux¬ 
embourg comite has (honoured Henri with one 
Medaille d’honneur but he cannot with good conscience 
accept till you, his best friend, approve his master¬ 
piece. Will you accompany with us to the Palais ?” 

Hugo quickly divests himself of his laboratory frock, 
speaks 

“In the language of my sainted President, de-light- 
ed.” 

He passes behind a screen and soon emerges, fashion¬ 
ably attired in frock coat, high hat, walking stick, 
gloves and spatted shoes. Henri dramatically bows re¬ 
marking : 

“See, ze Beaubrummel!” 

They all are in a laughing, rollicking mood as they 
approach the door to leave the laboratory. The door 
opens, and Professor Ploncton bows low and ushers 
into the room a beautiful though dignified woman. 
Professor speaks 

“Permettez moi, messieurs to introduir ze charming 
Madame Z. Madame, zees ees Monsieur Hugo Con- 
leef, of our institute, and zeze Messieurs Henri Janeset 
and Albard de Lavelle.” 

The three acknowledge the introduction with pro¬ 
found bows. Madame Z. raises her lorgnette and 



PHOTOPLAYS 


199 


Cut in 


Cut in 
Cut in 


Cut in 


Cut in 


Scene: 3 


Scene 4 


smilingly looks the young men over, as she acknow¬ 
ledges the introduction. Turning to the Professor, 
she speaks 

“We are intruding, Professor. Monsieur is going 
out.” 

Cunliff seems embarrassed, hesitates, and bows 
to Madame, saying: 

“We shall await your pleasure, Madame.” 

Madame smiles sweetly, speaks 

“I desire to speak with you, Monsieur Cunliff, if 
you will name a future time.” 

Cunliff looks at Henri, and Henri looks at Albard. 
Hugo politely addresses Madame with 

“Monsieur Janeset has invited me to view his pic¬ 
ture which has just been honoured with the Grand Prix 
in the Palais du Luxembourg; perhaps Madame and 
Professor Ploncton would be pleased to accompany 
us.” 

Madame looks at the Professor, who bows and 
looks at Madame. Ploncton speaks 

“Eef eet eez ze plaisir of Madame.” 

Madame nods assent. They all leave the laboratory. 
Cut to 

Exterior. Entrance to the Palais du Luxembourg. 

Cunliff, the Professor, Madame Henri, and Albard 
entering. 

Interior. Palais du Luxembourg. 

Cunliff slowly wending his way through the grand 
exhibit of marble to the salon in which Henri’s 
picture is resting upon a flower-bedecked easel, a life- 
size picture, in the nude, of a woman of dazzling 
beauty. They stand before the picture enraptured. 
Madame Z. examines it very critically. She observes 
that Cunliff is extraordinarily interested, his face 



200 


PHOTOPLAYS 


aglow with the admiration he feels for the magnificent 
female form. Madame cautiously draws back and 
catches the Professor’s eye. A committee of three 
men rush to Henri and enthusiastically congratulate 
him. Henri introduces them to the others. Madame 
and the Professor draws aside, still watching Cunliff, 
who seems loath to withdraw his gaze from the lovely 
picture. Turning, he observes them and joins them, 
saying: 

Cut in “Truly it is a masterpiece. Do you not think so 

Madame?” 

Madame Z. raises her lorgnette, looks earnestly into 
Cunliff’s face, then shaking her lorgnette at him, 
speaks 

Cut in “Monsieur Cunliff, you are doomed to be much dis¬ 

appointed when you view the living model. This is 
a mental picture built about a human framework. 
Few women are born so perfect, and they are not 
models.” 

Cunliff looks at Madame in surprise, saying: 

Cut in “Madame is a mindreader. I was hoping to meet 

the original.” 

Madame shrugs her shoulders, speaks 

Cut in “And, like Aphrodite,, you will find her a myth.” 

The Professor speaks 

Cut in “Monsieur ees meestake. Madame ees ze soul- 

readare.” 

Cunliff looks startled and casts his eyes toward 
Madame Z, who is now looking at another picture. 
Professor Ploncton, placing his hand upon Cunliff’s 
arm, says: 

Cut in “Eef Monsieur will excuse, ze Madame has ze 

legon to prepare at ze institut. You, Monsieur, must 
come tomorrow morning.’* 



PHOTOPLAYS 


201 


Cut in 

Cut in 


Scene 5 


Cut in 


Cut in 


Scene 6 


Scene 7 


Cunliff exhibits pleasure at the invitation, speaks 

“Madame lectures? On what subject?” 

The Professor is profuse in his praise, replying: 

“Madame ees ze great autorite on ze psychology,— 
ze soul.” 

Cunliff walks slowly to where Madame Z. is stand¬ 
ing, and seems to be critically scrutinizing her when 
the Professor draws her attention, and they go to 
where Henri and his friends are in animated con¬ 
versation. Madame and the Professor bid them adieu 
and take their departure. Cunliff speaks to the others 
and they all look interestedly after them, Madame and 
the Professor as Diaphragm seowey ceoses. 

Exterior. Street in Paris. 

Cunliff, Henri, and Albard swinging down the Boule- 
card St. Michel. Turning into the Rue del’ Ecole, 
they stop at a restaurant with tables upon the side¬ 
walk. They choose a table and order wine. Albard 
pays, and they converse. Cunliff finishes his glass 
and arises. The others protest. Cunliff stoops and 
says something to Henri. Henri looks up at Cunliff, 
shrugs his shoulders, cocks his head to one side, and 
looks in his glass, saying 

“Monsieur Hugo, my modele is not so beautiful as 
my creation. She is but the inspiration.” 

Cunliff nods and moves away. Henri touches him, 
speaks 

“Nevertheless, I celebrate to-night. You will be 
present. You will see my modele ” 

Cunliff salutes and leaves them. Stopping a passing 
cab, he enters and is driven away. 

Exterior. Entrance to the Studio Building. 

Cunliff in evening clothes, alights from cab, enters 
studio building. 

Interior. Henri's studio. 



202 


PHOTOPLAYS 


Cut in 


Cut in 


Sub title 
Scene 8 


Insert 
Note book 


An assembly of artists and their models are re¬ 
veling, drinking and dancing. Cunliff enters. Henri 
sees him, rushes to him, and cordially greets him. 
Many others raise their hands and nod at him, and 
soon he is in the midst of the joy-making. Henri 
brings Cunliff to a small party of men in eager con¬ 
versation with a handsome, vivacious woman. Henri 
apologizes and draws her aside, the men dispersing. 
Henry speaks 

“Mademoiselle, I desire that you meet my dear 
friend, Monsieur Hugo Cunliffe.” 

Mademoiselle Brasse cordially acknowledges the in¬ 
troduction but Cunliff’s face plainly registers disap¬ 
pointment. 

Turning to Hugo he smiles, and whispers: 

“The beautiful module ” 

Mademoiselle Brasse acknowledges the introduction, 
but Cunliff’s face plainly registers disappointment. 

They join in the revel, he from time to time seem¬ 
ingly surveying the model, as Diaphragm goes down. 

The following morning 

Interior. Lecture room at the Sorbonne. 

Persons coming in and taking seats. Cunliff enters 
seeks a place near the rostrum, and takes out note book 
and pencil. Professor Ploncton appears with Madame 
Z., introduces her, and retires. Madame Z. observes 
Cunliff and smiles; he registers confusion. Madame 
lectures. After the lecture the people gather about 
Madame Z to congratulate her. Cunliff stands, ex¬ 
amining his notes, 

Eternal physical labor is not a natural inheritance 
of men, but is a crime against nature. 

The coercive power of greed unbalances the creat¬ 
ive design. 

Humanity is physically enslaved, and mentally dis¬ 
torted, to erect hideous artifical things for fools to 
worship. 

Feed the soul with ugly pictures, and it builds up 
an ugly body. 



PHOTOPLAYS 


i 


203 


Cut in 


Cut in 

Cut in 
Scene 9 


Cut in 


Cut in 


Cut in 


Physical beauty is the greatest desideratum of 
Nature. 

Madame Z. observes Cunliff, and slowly works her 
way through the crowd to where he is standing. She 
smiles, leans toward him, and speaks 

“Were you disappointed in the beautiful model?” 
Cunliff is shocked at this question, and visibly starts. 

He still holds in his hand the note book and points 
to it, saying: 

“You have given me better food for thought, 
Madame” 

Madame smiles sweetly, replying: 

“I will see you in your laboratory at noon.” 

Interior Same as Scene i. 

Cunliff is idling, and impatiently awaiting Madame 
Z. He looked toward the door, bounding to it, and 
open it. Madame Z. enters. He bows profoundly. 

She adjusts her lorgnette and looks at him critically, 
walks about the room, examining it, Then speaks 

“Why are you not at work, Monsieur Cunliff?” 

He hangs his head and is much embarrassed. Sud¬ 
denly he straightens up and looks seriously at Madame, 
saying: 

“Madame Z., you puzzle me. You are casting a 
strange spell over me. Will you explain?” 

Madame Z. looks coolly at him. There is no indi¬ 
cation of the frivolous. 

“Perfectly natural. Your soul needs help; but your 
fear will soon disappear. I have serious things to 
discuss with you.” 

He directs her to a seat, and he also takes a seat 
His brow is knitted, and he shows increasing nervous¬ 
ness. She says: 



204 


PHOTOPLAYS 


Cut in “Doctor, you must know I am an American, and 

Madame Z. is merely a nom de guerre. I have come to 
this graveyard of young ambitions to help you. ,, 

He raises his hand in remonstrance, and looks earn¬ 
estly into the calm face, speaks 

Cut in “But, Madame, I have asked for no help.” 

Madame Z. smiles as she says: 

Cut in “It does not follow that your subconscious self has 

not asked for help.” 

Cunliff leans eagerly toward Madame Z. 

Cut in “I should be everlastingly grateful to you, Madame, 

for no one here seems to be interested in my work.” 
Madame shrugs her shoulders, speaks 

Cut in “The French people are not imaginative. They only 

applaud accomplished facts; but they understand 
beauty.” 

Madame Z arises, looks about the laboratory, looks 
out of the window, as though thinking deeply, then 
returns to Cunliff, saying: 

Cut in “Dr. Cunliff, it takes a brave heart to pass through 

what I propose. It means passing through a living 
purgatory, but it is the only manner by which we can 
solve this great problem.” 

His face registers the greatest consternation. He 
reaches out his hand toward her and gasps, unable to 
speak. Madame continues 

Cut in “I am perfectly sane, Dr. Cunliff. Did you ever 

experiment with the somo poison?” 

Cunliff nods, replying: 

Cut in “Yes, it superinduces peculiar forms of hallucination, 

usually terminating in death.” 

Madame leans eagerly forward, as she asks: 



PHOTOPLAYS 


205 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


“Did you attempt to find its antidote? Every poison 
has its antidote.” 

Cunliff gasps and shakes his head. Madame Z. 
earnestly continues: 

“Together we will find the antidote, and we will 
magnify the soul as the microscope magnifies material 
things. The workings of the human soul will become 
as visible as the workings of the human body.” 

Cunliff bounds to his feet, reaches forth his hands, 
and earnestly exclaims: 

“Madame! That is my dream!” 

Madame nods her head approvingly, speaks;— 

“You have spoken more wisely than you know. Im¬ 
agination dreams and constructs instantaneous living 
pictures, which we may, by mental exaltation, magnify 
and put into visible forms before they disintegrate. 
This is revelation, Doctor.” 

Cunliff exhibits great agitation, and stands before 
Madame with clasped hands, asking: 

“And what has somo poison to do with this, Mad¬ 
ame ?” 

Madame Z. earnestly explains: 

“It increases the assembling power of the imagin¬ 
ation a thousand-fold as the microscope magnifies 
into visibility invisible things.” 

Cunliff exhibits the greatest pleasure. They con¬ 
verse for some moments. Madame Z. places her finger 
upon her lips and cautions him, saying: 

“Not a living soul but ourselves knows of this. We 
must search the earth for the antidote.” 

Cunliff looks thoughtfully at the floor, speaks 

“And you think I should leave off my experimen¬ 
tation here and go in search of this?” 



206 


PHOTOPLAYS 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Scene io 


Madame Z. arises, saying: 

“At your discretion, Dr. Cunliff. It is the only way 
to solve the problem. ,, 

Cunliff stands looking thoughtfullly at the floor. 
Madame Z. swings her lorgnette by its cord and awaits 
his decision. He looks up, as he says: 

“And you, Madame?” 

Madame smiling, replies: 

“I will work with you on one condition, going to 
the end of the earth if necessary.” 

Cunliff starts, opens his mouth in eager surprise, 
half extends his hands toward Madame. She comes 
closer to him, looks him squarely in the face, and 
punctuates her remarks with her lorgnette, saying: 

“You will not attempt to mingle love-making with 
our experimentation.” 

Cunliff laughs heartily, as he answers: 

“You are a hard task-master, Madame, but I will 
agree on one condition.” 

Madame looks surprised, and suspiciously eyes him. 
He smilingly and half playfully punctuates his remarks 
with his fingers, as he speaks 

“That you do not tempt me, and make of me a 
second Adam.” 

They both laugh and shake hands, as they part, she 
saying: 

“We both have ample means and are time-free. We 
shall share equally all expenses.” 

Hugo bows. Iris out. 

Interior. Same as Scene 7. 

Henri and Albard seated at breakfast in Henri’s 
studio. Albard excitedly calls attention to an item in 
the morning paper. They both eagerly examine it. 



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207 


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News item 


Scene ii 


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Scene 12 


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Scientific Expedition 
To the South Sea Isees. 

Dr. Hugo Cunliff to make a study 
of Flora and Fauna of Unexplored 
Regions 

They pore over article as Diaphragm Slowly 
Closes. 

Exterior. A tropical island. 

Small boats landing party and supplies from yacht. 
Cunliff directing the work. Madame Z. and raw-boned 
Irishwoman helping. The goods are carried to a 
higher spot and deposited. Madame Z. unpacks and 
sets up moving-picture camera and takes picture of 
scene. Yells at Hugo: 

“Look pleasant, there, boss!” 

Hugo waves his hand, poses, and laughs. 

Exterior. Another view of island and ocean. 
Yacht at anchor in small harbor. Improvised pier at 
shore. 

Cunliff and two men landing from small boat. 
Large turtle is thrown upon pier, fishes and oysters 
are also handed out. At edge of beach, beneath palms, 
is a row of tents. Madame Z. runs out to meet the 
men, exhibiting childish joy. The Irishwoman, with 
sleeves rolled up, brings a pan, into which Hugo places 
large fish. One of the men spills the oysters upon the 
ground, and they stand looking at them. The other 
man brings the turtle, and Madame Z. makes much 
over it. Cunliff watches her with admiring eyes. The 
servants carry the catch away, and Cunliff and Mad¬ 
ame Z. walk to Madame Z.’s tent. He speaks 

“You are violating your agreement with me, Mad¬ 
ame.” 

Madame looks questioningly at him; he looks into 
her face and smiles, saying: 



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“You are a temptation every new moment I am with 
you.” 

Madame places her hands upon her lips, draws her¬ 
self up, puckers her lips, and indignantly walks into 
her tent. Cunliff laughs heartily, and passes into his 
own tent. 

Interior. Mess tent. 

Cunliff, Madame, and her companion seated at 
table. Cunliff says something, goes out of tent, returns 
with bottle, makes three drinks, and passes them about. 
Negro cook enters with tray containing abalone shells 
filled with soup. Madame puts her hand together like 
a child. Cunliff eyes her affectionately. She speaks 

“Isn’t that nice? Real oyster soup in these beauti¬ 
ful abalone shells.” 

Negro cook enters with large platter on which is 
a fish. They eat and converse. Cunliff keeps mop¬ 
ping his brow and looking about, speaks 

“Gee, but it is hot!” 

Madame goes to her traveling bag, draws forth a 
bathing suit, and holds it up. Cunliff slaps his thigh, 
saying: 

“By Jove! Madame, you are inspired. After we 
have digested our food, we’ll try the surf, eh?” 

Madame nods assent. 

Exterior. On the beach. 

Madame Z. and Cunliff in bathing suits. Irish¬ 
woman standing watching them. Slips behind a scrub 
palmetto, and starts moving picture camera. Cunliff 
starts to walk away from Madame. She turns and 
looks toward him, asking: 

“Where are you going, boss?” 

He turns, makes a motion, and answers: 



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“I’m going far enough away, so that you can't accuse 
me of violating my agreement.” 

Madame looks down at ;her scant bathing suit, 
makes a face, and runs into the water. He runs back 
and plunges in the waves with her. They frolic, then 
come out of the water, sit in the sand, and talk. He 
digs in the sand doggedly. Madame asks: 

“What’s the matter with you, Hugo? You act like 
a bashful boy.” 

He begins to cover up her legs with sand, replying: 

“No use; I’m going back. I can’t keep my agree¬ 
ment. But you deceived me.” 

Madame sits up straight, and stares at him.. Cunliff 
sits up and points his finger at her and half scrambles 
out of her reach, laughing as he says: 

“Didn’t you tell me that Nature does not make 
human beings as beautiful as Henri’s picture?” 

Madame bounds to her feet and runs to the tents. 
He bounds to his feet and runs after her, crying: 

“Hey! What’s your hurry ?” 

He is close behind her as she reaches the door 
of her tent. She turns toward him and makes a face, 
speaks 

“You brute!” 

Interior. Madame’s tent. 

Madame is lying upon an improvised couch, read¬ 
ing. Cunlifif rushes in with a vial in his hand and a 
rabbit under his arm, acting like a crazy man, as he 
cries: 

“Eureka! I have found it!” 

Madame quickly arises to a sitting position upon the 
side of her couch in surprise, asking: 

“What is it, Hugo?” 



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He places the rabbit upon the table, as he says: 

“See, Pve taken all the run out of the rabbit. He's 
as tame as a cat.” 

The rabbit sits up, smells about the table, and 
makes no effort to escape. Madame takes him off the 
table, and places him upon the ground. He still 
makes no effort to go. She feeds him from her 
fingers while Cunliff stands with clasped hands in 
an exhalted ecstasy and watches her. Madame Z. 
looks at him questioningly. He replies: 

“I administered one drop of somo. He went crazy, 
keeled over in spasms, and died. I injected this into 
the spine at the base of the brain, and in ten minutes 
he was as you see him now.” 

Madame points at the vial. Hugo hangs his head, 
shaking it. 

“I don't know, but it’s the antidote for somo poison¬ 
ing. It is an accident.” 

They stand looking at the rabbit. Iris out. 

Interior. Cunliff’s tent 

Cunliff is seated in great dejection. He throws up 
his hands, Madame enters. He speaks 

“It’s no use. I can’t identify it. I’ve killed thirty 
rabbits and a hundred frogs.” 

Madame stands by him sympathetically, trying to 
comfort him. She asks a question. He picks up a 
vial, holds it up, and shakes his head saying: 

“That is all. It’s worth its weight in radium.” 

They stand thoughtfully looking at the table lit¬ 
tered with chemical paraphernalia. Madame Z. places 
her hand upon Cunliff’s arm, speaks 

“I believe that is sufficient for our experiment, 
Hugo. Science must provide.” 

He takes her hand and gently removes it from his 
arm, saying: 



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Scene i8 


PHOTOPLAYS 


“You are violating our agreement, Madame.” 

Madame Z. smiles, hangs her head, and picks up 
a book from the table. He looks covertly at her, and 
suddenly attempts to put his hand on her shoulder, 
saying: 

“Madame, have we not played this farce long 
enough? Why not be human?” 

He holds out his hand toward her. She shrinks 
away indignantly, protesting: 

“You call our mission here a farce?” 

He still pleads: 

“No! No! Not our mission, but this foolish re¬ 
straint.” 

Madame looks at him sternly, speaks 

“I know the animal in you is growling. I could 
neither love nor marry the beast. You purge the 
rabbit of its beastly nature. Until you purge your¬ 
self, I cannot listen to you. We must return to Paris.” 

Madame leaves the tent. 

Interior. Same as Scene 7. 

Henri and Albard at breakfast. Henri bounds to 
his feet, and thrusts a newspaper before Albard, 
crying: 

“See! Hugo is return!” 

They both exhibit great joy. They are attracted by 
the telephone. Henri takes the receiver, and cuts funny 
capers, then hangs up, speaks 

“That is sweet news. He is coming at once.” 

Enter Cunliff. They both embrace him, and kiss 
him on both cheeks. They converse animatedly, as 
Diaphragm closes. 

Interior. Same as Scene i. 



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PHOTOPLAYS 


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Scene 19 


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Madame Z. enters and locks door. She opens 
a cabinet and takes therefrom a case filled with vials. 
She removes two vials from the case, and inserts two 
others in their place. She restores the case, closes the 
cabinet and hurriedly leaves the laboratory. 

The next day 

Interior. Apartment of Madame Z. 

Maid goes to door, receives Cunliff, ushers him 
into reception-room and leaves him. Madame Z.. 
enters, and graciously greets him. He takes both her 
hands, and looks at her admiringly, saying: 

“You surely do not resemble a South Sea Islander 
now.” 

Madame smiles, making a deprecatory gesture, asks 
him to be seated, and assuming a serious air, says: 

“Hugo do you desire to withdraw your promise to 
pass through purgatory with me?” 

He looks earnestly at her, saying: 

“If you tell me that you will be my paradise at the 
other end, I’ll go through hell for you.” 

Madame starts, places her finger tips upon her lips, 
thinks deeply for a moment, throws up her head, and 
earnestly speaks 

“Be patient, Hugo. Our agreement terminates when 

our experiment is completed.” 

He tragically clasps his hands and rolls his eyes, say¬ 
ing: 

“Dum spiro spero .” 

Madame takes from a bookcase a manuscript and 
places it upon the table, and they stand looking over it. 
Madame places her finger upon a clause, saying: 

“Hugo, the soul never grows old. It feeds upon that 
which experience offers it, and constructs from these 
elements the human body through which to manifest 



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itself. When the soul food is so vile that the body be¬ 
comes hideous, and its acts offensive to nature, it 
abandons the body in disgust; that is physical death.” 

Cunliff listens intently, and asks: 

“And what becomes of the soul, Madame?” 

Madame places her hand on his arm, seriously looks 
into his face, and answers: 

“The soul is made of dream stuff, Hugo, and, like 
dreams, it, too, disintegrates and fades into the great 
Infinite Mind. I am going to demonstrate the neces¬ 
sity for this wise provision in our final experiment.” 

Cunliff looks deeply concerned, as he asks: 

“Then, the soul assimilates, as its food, the good or 
evil thoughts brought to it by the physical sense organs, 
hence it, too, is temporal ?” 

He waits the answer anxiously. Madame at length 
speaks 

‘Wes, physical perfection is the greatest desideratum 
of nature, hence pure and beautiful thought pictures 
are as essential to the soul as pure and wholesome food 
is to the body. The soul digests and dissolves thought 
as the body does solid food. There is a material body 
and there is a spiritual body.’ ” 

Cunliff is enthralled, and exhibits great excitement. 
Madame, too, registers extraordinary enthusiasm. He 
seizes her hand and kisses it, as he cries: 

“Madame Z, only purge me, that I may be worthy 
of your own sweet, beautiful self. I am ready.” 

Madame shows agitation, looks about the room, then 
folds up the manuscript hurridly, saying: 

“We shall now have a view of the things that are 
daily administered to humanity as soul food.” 

Cunliff bows his head and remains standing, as 
though doomed. Madame Z. leads him to a seat, places 



214 


PHOTOPLAYS 


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in his hand a bright metal globe, and then hands to 
him a glass containing a fluid, which he swallows. She 
closely watches his face, removes the ball from his 
hand and draws a curtain, revealing a dazzling silver 
screen. Then she disappears behind another curtain. 
Diaphragm seowey goes down then up to show 

Madame standing over Cunliff with a glass in her 
hand. He shows great irritation and excitement, seem¬ 
ingly trying to fight away some horrible vision. 

Madame Z. places her arm about his neck and insists 
upon his swallowing the contents of the glass. She 
succeeds in persuading him to swallow it. She places 
the glass upon the table and softly steps behind him, 
sinks into a chair, covers her face with her hands, and 
weeps,—then wrings her hands as though in great 
mental anguish. He slowly raises his head, brushes 
his hands across his eyes, and looks about himself, then 
about the room. Madame quickly arises and glides 
to his side. 

“Why, Hugo, you must have had a hard night last 
night, to drop asleep the moment I leave you. ,, 

Hugo looks at her in astonishment, does not recog¬ 
nize her, speaks 

“Sleep! My God! How long did I sleep? I re¬ 
viewed the crimes of the world. I saw things in my 
dreams too horrible to relate. Let me move about.” 

He arises and walks across the floor, and comes back 
to Madame Z. He stares at her stupidly and laughs, 
all the while apparently shrinking from some invisible 
person, motioning him away with his hand. He speaks 

“That is strange! I have seen you somewhere, but 
to save my soul I cannot remember.” 

Madame Z’s eyes nearly pop out of her head. She 
shrivels up, places her closed hand over her mouth, and 
stares wildly at him. He seems to be trying to collect 
his senses, and his thinking powers seem to be fading 
away. Madame cries: 



PHOTOPLAYS 


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“Hugo! O Hugo! You know me!” 

He approaches and reaches forth his hand in a 
childish way, smiling sweetly at Madame. She takes 
his hand and pats it. She draws him to a lounge, and 
seats him by her side. He places his hand upon her 
shoulder. She attempts to soothe him. Suddenly he 
raises his head, looks earnestly at her and laughs, cry¬ 
ing: 

“Oh, I know, you’re Polly.” 

Madame begins to weep. Cunliff queries: 

“Why do you weep, Polly dear?” 

She permits him to place his arms about her. He 
strokes her hair, and in a childish manner comforts 
her. She sees him staring at the metal ball. She 
arises, picks it up and holds it before him, saying: 

“Look! Now, Hugo, I’m going to wake you up. 
When you cannot see the ball you will be yourself 
again. Sit quiet and watch the ball.” 

She slowly backs away from, him to the full length 
of the room, then she conceals the ball, and comes 
quickly forward and gives him a sharp slap on the 
cheek, commanding: 

“Hugo! Wake up. Why do you sleep?” 

Hugo throws up his head, looks about, and seeing 
her, laughs, puckers his mouth, and whistles, as he 
asks: 

“Am I alive, or dead? That was some experience. 
How long did it last?” 

Madame Z rushes to him drops upon her knees in 
front of him, and buries her face in his lap and weeps. 
He raises her face and looks at her. And a look of 
great joy comes over his face, as he questions: 

“Why do you weep, Madame?” 



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Scene 20 


He gently lifts her up, and standing, places his arms 
about her. She still weeps, and he comforts her. She 
looks up and places her hand upon his shoulders. She 
permits him to kiss and caress her, crying: 

“O Hugo, I am so glad. I thought something ser¬ 
ious had happened. You did not respond quickly to 
the antidote.” 

Hugo looks astonished, then speaks 

“Antidote? Why, I didn’t have the opportunity to 
tell you that I accidently crushed the vials containing 
both the somo poison and the antidote in unpacking.” 

Madam hangs her head, then slowly raises it and 
stares in guilty surprise, saying: 

“We have made a great discovery, Hugo. Hypno¬ 
tism is the balancing power. We have demonstrated 
the creative trinity. Surely nature provides. The sub¬ 
conscious mind is the true soul.” 

Cunliff takes her by the two shoulders, and looks 
earnestly into her face. 

“Madame, I have just passed through Purgatory. 
Will you pay me my promised reward?” 

Madame draws back, but permits him to hold her 
hands, saying: 

“I am not quite ready to answer you, Hugo. Come 
here three days hence, and I will give you my answer.” 

Three Days Later 

Interior. Same as Scene 19. 

Madame in great good humor. The big Irishwoman 
is standing with her, and they are earnestly discussing 
the arrangements of the room. Madame passes to 
a door at the extreme end of the room and draws a 
curtain, concealing it from view. She draws a cord 
and a circular opening is made in the curtain. The 
Irishwoman places two chairs and Madame nods. 



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Madame passes to the curtain at the other end of the 
room, drapes it and nods approval, saying 

“l will place my right hand upon my head, Kathlyn.” 

Kathlyn passes to the concealed door behind the 
curtain and disappears from sight. The door opens 
and the maid speaks to Madame, who nods. Cunliff 
enters, and Madame greets him kindly, but prevents 
his display of affection by holding up her finger. 
She guides him to one of the chairs and she seats her¬ 
self in the other. She looks him over critically, 
asking: 

“Have you felt any bad effects from yesterday’s 
experience, Hugo?” 

He seems elated and extraordinarily vivacious, shakes 
his head. She smiles up into his happy face, saying: 

“And your bad dreams?” 

He throws up his hands and makes a wry face. 

“They are fading. I’ll soon forget them, but I 
am seeing more pleasing mental pictures, for instance 

He turns and describes them to her. 

The picture of their being in bathing at their South 
Sea Island and of their life there. 

Madame hangs her head and seems sad. Suddenly 
she places her hand upon his arm. 

“Hugo, if the soul is given only beautiful materials, 
it will paint only beautiful mental pictures. These 
pictures are as real in their world as our visible bodies 
are in the material world.” 

He looks startled, asks: 

“Do you mean that the horrible things that I saw 
in my visions yesterday were real?” 

Madame earnestly replies: 

“Could they be photographed were they not real? 
They are hourly occurrences.” 


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218 


PHOTOPLAYS 


Hugo looks puzzled. Madame puts her hand on 
her head. Slowly the curtain rolls back, displaying 
the dazzling silver screen, upon which pictures begin 
to appear. Cunliff starts up but Madame holds him 
in his chair, where he sits staring and spellbound. 

Scene 21 Interior. Cunliff’ s library. 

Cunliff seated in easy chair by fireside, wearing 
smoking jacket, and smoking a pipe. Has book in hand. 
Boccaccio’s “Decameron Tales.” Butler enters and 
places a tray with liquor on table. Cunliff nods, con¬ 
tinues to read, and sips his drink. A horrible looking 
creature enters. A cringing, uncouth man with shaggy 
unkempt hair, and a stubby growth of beard. His 
hands are like claws; his shuffling feet keep moving as 
do his hands; he twists his hat and rolls his eyes as he 
speaks to Cunliff, who slowly .arises, lays down his 
book, knocks the ashes out of his pipe, and looks 
keenly at the visitor. He motions for him to advance 
and speak. He listens to him and nods. Rings, and 
butler enters with undercoat and long rain-coat. Cun¬ 
liff takes hold of rain-coat and looks questioningly 
at the butler, who nods, and helps him into both coats. 
Cunliff looks at Stranger, steps over and places hand 
on his arm, looks him up and down and motions to 
the butler, who hurriedly leaves room returning with 
another rain-coat, which, to his surprise, he insists 
upon putting on the Stranger. Butler offers Cunliff 
his hat, which he pushes aside, drawing from his 
rain-coat a cap, which he draws down upon his head. 
He places in his pocket a medicine case, and motions 
for the Stranger to pass out. 

Scene 22 Exterior. Street. 

Hugo and Stranger trudging in downpour of rain 
through narrow dark street. 

Scene 23 Interior. A dark, ugly room with rickety table 
and chairs. 

Enter Cunliff and thie Stranger. The Stranger 
straightens up, removes a wig, takes a towel and wipes 
his face, removes his ragged clothes, puts on a long 



PHOTOPLAYS 


219 


Scene 24 


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Inscription 


Scene 25 


Scene 26 


lounging robe, lights a pipe, goes to a cupboard, and 
brings out a bottle and one glass. Suddenly Cunlifif 
starts up, stares at the man, and recognizes himself 
in the figure. The man seems not to see nor notice 
him. The man takes several drinks, looks sullenly at 
Cunlifif arises and motions for him, to follow. They 
arise, the Stranger opens a low, narrow door leading 
into a narrow, dark passageway, and they go out and 
into 

Interior. A large square room, bare of all furn¬ 
ishings. 

Enter Cunlifif and his double, who presses button 
and turns on a flood of light. Cunlifif starts back in 
terror, clenches his hands, and stares at the walls. 
Crude wood crosses are placed around the entire wall, 
and bound to each cross by cords is a Hugo Cunlifif. 
Beneath the feet of each figure is a plate on which 
is a date and the word “Crucified.” On the wall 
is scrawled. 

“I die daily!” 

Cunlifif’s eyes pop out of his head, as he con¬ 
templates this awful sight, and sees each face come 
to life and look appealingly at him. He casts his 
arm over his face, and the stranger pushes him for¬ 
ward. Fade into 

Interior. A large room with a great pit in the 

center. 

Enter Cunlifif and the stranger, who points into the 
pit and Hugo sees himself there, helpless to scale the 
deep smooth walls, and writhing in a state of terror. 
The man reaches a chain and draws open a flood¬ 
gate in the side of the pit, and a flood of living, 
writhing serpents stream into the pit, filling it almost 
to the top. He watches the hopeless fight of the 
prisoner, until he is entirely submerged. Fade into 

Interior. A low dive. 

Enter Cunlifif led by the stranger. Many rough, 
uncouth people, gambling, drinking, and dancing are 
in. As Cunlifif and his guide enter, a man casts a 



220 


PHOTOPLAYS 


Scene 27 


Scene 28 


Scene 29 


Scene 30 


woman behind him, draws a long knife, and rushes 
upon another man, and stabs him to death. As the 
murderer stands, Cunliff recognizes himself. Fade 
into 

Interior. An opium joint. 

Cunliff and Stranger enter. Cunliff sees faces peer¬ 
ing at him from every side. To his horror they are 
all his own. He puts hiis hands over his face to hide it 
and he and his guide pass out. Fade into 

Interior. A squalid room, littered with filth. A rag¬ 
ged bed, a cook stove, broken dishes, and rickety table 
and chairs. 

As Cunliff and Stranger enter, a cradle containing a 
baby is upset, and the child lies squalling near it. 
Four other dirty ragged children are peering from 
hiding places, while an enraged man, with a broken 
chair in his hand, stands over a prostrate woman. 
He glares about the room, and as the disfiguring lines 
in his face relax, Cunliff recognizes himself, and stag¬ 
gers back, with his hands shielding his face from the 
awful sight. The Stranger looks at him and laughs. 
Fade into 

Interior. Another squalid room. 

Enter Cunliff and his guide. A young women is 
upon her knees, pleading. A brutal form stands over 
her. He grasps her clothing and tears her garments 
from her body and picks her up and throws her upon 
a bed. He turns, and Cunliff again sees his own face. 
He throws up his hands and rebels against more, and 
insists upon being taken out. The Stranger laughs and 
leads him to a door, opens it, and pushes him out. 
Cut to 

Exterior. A street on a stormy night. 

Cunliff pushed into the street from doorway. A 
large brutal police officer is standing near. He 
seizes Cunliff, jerks off his cap, strikes him over the 
head with his club, and he falls senseless to the side¬ 
walk. Out and back into 



PHOTOPLAYS 


221 


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Interior. Same as Scene 21. 

Cunliff in, still in his smoking jacket. His book is 
on the floor, and his pipe lying in his lap. He starts 
up, looks about, picks up his pipe, which had slipped 
to the floor, and his book, places them upon the table, 
jumps to his feet, shakes himself, and exhibits all the 
symptoms of dazed amazement. He walks the floor, 
with his left hand behind his back and his chin in his 
right. He stops, picks up the book, and looks at 
the title. He picks up the glass in which he had his 
drink, and smells of it. He pours out some liquor and 
starts to drink it, but suddenly replaces it upon the tray. 
Fade into 

Interior. Same as Scene 19. The curtain has 
been drawn, concealing the screen. 

Madame Z. and Cunliff sit silently, looking at one 
another; he speaks 

“Madame Z., that was my vision of yesterday. 
What does it mean? I am none of these characters.” 

Madame Z. looks affectionately at Hugo, then 
answers: 

“These are the materials of which dreams are made. 
Would you have these vile pictures mingle in the 
constructive thought of Nature? No! Hence the 
soul, too, disintegrates, and is released pure and un¬ 
defiled. Hugo, the whole of humanity is being in- 
noculated with this virus of wrong thinking. , It 
is daily feasting on this somo poison/’ 

They arise, Cunliff draws Madame toward him, 
speaks 

“Madame Z., I realize how trivial my personal 
desires are compared with this tremendous work.” 

Madame nods and replies: 

“Yes, Hugo, thought transmission and the visualiz¬ 
ing of thought pictures will make practical evil impos¬ 
sible.” 



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Scene: 33 


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Hugo places his arm about Madame, and looks 
lovingly into her face, saying: 

“And you, my good angel, are you too, but a dream?” 

Madame, slowly releasing herself, and beginning to 
fade away, speaks 

. “Yes, Hugo, I, too, am but a vision of the subcon¬ 
scious mind,—the soul.” 

She fades away. Iris out. 

Interior. Same as Scene i. 

Cunliff in, same as at close of Scene i. He stirs, 
casts off his covering, arises' from his couch, suddenly 
bounds to his feet, rubs his eyes, looks about in a 
startled manner, picks up his note pad, looks at it, 
and tosses it on the table. Looks at his wrist watch. 
Its hands point to 3:30. Cunliff registers bewilder¬ 
ment, then speaks 

“IPs true,—after Purgatory comes Hell. Both are 
human inventions.” 



INVISIBLE JIM 


INVISIBLE JIM 


Invisible Jim 


Gentleman Burglar 


SYNOPSIS 

The mother of Jim was left destitute while he was yet a baby. 
She adopts dressmaking as means of support. In consequence, 
Jim’s discipline and moral training are neglected. 

Jim very early begins to shift for himself. He is hungry, and 
purloins the neighbors’ pies; he is lonesome; his mother cannot 
afford to buy him toys, therefore, he pilfers the toys of neighbors’ 
children. 

The ease with which he does these things without discovery im¬ 
presses his mind at the most critical constructive period of his life, 
and he begins to think and reason. He realizes that he cannot 
share his spoils with his mother without confessing his guilt; thus, 
the impression of wrongdoing is emphasized. He condones this by 
convincing his conscience that it is unfair that he and his mother, 
whom he loves dearly, should actually want for food, while all the 
neighbors about them have more than plenty, and while other children 
are provided with toys and playthings, and he has none. 

At length, at the age of sixteen, he has resolved to lead a secret 
criminal life, leaving his mother in the village and going to the city, 
ostensibly to procure a position. 

In two years he has become so proficient as a burglar that he 
is a sensation, being called “Invisible Jim.” No one could explain 
how it happened that his professional name was Jim. He was never 
caught. ' ; 

He leads his mother to believe that he is engaged in the jewelry 
brokerage business, sending her money regularly. 

One Sunday evening, being attracted by the music, he enters 
church. He observes the elders return the collection baskets to 
the pastor, who empties them into a tin box, placing the receptacle 
in a cabinet on the wall, back of the pulpit. Jim overhears a con¬ 
versation that hastily calls the pastor to the bedside of a dying 
member of his congregation, to perform a marriage ceremony. The 
pastor carelessly draws down a window, leaving it unfastened, and 
goes out of the church. 


225 



226 


PHOTOPLAYS 


Jim goes through the window, and steals the box supposedly- 
containing the money. Upon reaching his room, and opening the 
box, he finds that he lias taken the wrong box, the contents of 
which cause him great mental distress. Remorse compels him to 
return his loot to the church. 

In restoring the box, in his haste to leave the church, upon some 
one entering, he falls and severely injures his spine, causing tem¬ 
porary paralysis of his lower limbs. In great agony he reaches his 
room where he experiences great mental anguish because of his 
inability to conceal the evidences of his criminal life. 

Fortunately, his mother is first to reach him, finding him in a 
semi-delirious state, which causes him to reveal to her his secret. 
She nurses him to a point where he is able to return with her to 
their village home. The mother gathers all of his things together 
and brings them to the cottage, where she conceals them in the 
garret, making no reference to them to Jim. 

When Jim is practically recovered, he cautiously asks his mother 
if she has brought his “kit of motor-cycle tools,” with a forlorn 
hope that she might not recognize the character of the tools. 

The mother replies that the tools are in his bag in the garret, 
which at once causes him to realize that his mother has been made 
wise to his secret criminal life, filling him with shame. 

On the following day his mother goes on a visit to a neighbor. 
Jim goes to the garret and brings down the bag. On the top are 
his telltale masks and loot-bags, and beneath, his burglar tools. 
Overcome with shame and remorse, he is grief-stricken and resolves 
to reform immediately. He burns the masks and bags in the kitchen 
stove, and carrying his tools and keys to the old swimming-pool of 
his boyhood days, he casts them into the water, where they sink into 
the mud. 

Returning to the cottage, he is ashamed to face his mother, writ¬ 
ing her a brief note explaining that he has determined to go away 
and in future live a perfect life, assuring her of his great love, and 
that he would soon send for her to join him. 



PHOTOPLAYS 


227 


Sub-title 


Sub-title 
Close up 

Sub-title 
Scene i 

Close up 

Sub-title 
Scene 2 


Sub-title 


Close up 


CONTINUITY 

Heredity provides the soil for crime. 
Environment, circumstance, and temptation 

SOW THE SEEDS OP CRIME. 

Desire, necessity, and opportunity develop the 

CROP. 

Law and pate determine the end op the crmi- 

NAL. 

Jim's mother was lept in destitute condition 

BY THE DEATH OP HER HUSBAND, WHILE JlM WAS YET 
A BABY. SHE TAKES UP DRESSMAKING POR A LIVILI- 

hood, hence, Jim's discipline and moral train¬ 
ing WERE WEAK BECAUSE OP LACK OP PROPER ATTENT¬ 
ION DURING THE FORMATIVE PERIOD. 

Jim 

Jim as a young man, with a pleasing yet cunning 
face, alert eyes, and the attitude of self-assurance and 
confidence. 

Jim's Beginning. 

Exterior. Village cottage with child playing on 
steps. 

Jim at age of five years, good looking boy, with 

dirty, mischievous face. 

Jim's first great temptation. 

Exterior. Cottage, showing window-sill, with pies 
cooling. 

Jim at age of eight years confiscating one of a row 
of pies from the neighboring window-sill, and seeking 
a safe place of concealment. 

Jim's first lesson in the penalty op crime. He 
regrets he cannot share his loot with his 
mother, but dares not thus betray himself. 

Jim, in a snug place, eating his pie, with the 
sparrows fluttering about, awaiting the crumbs. 



228 


PHOTOPLAYS 


SUB-TITLE 


Scene 3 


Scene 4 


Sub-title 

Scene 5 


Scene 6 


Sub-title 


Scene 7 


Jim hears the neighbor complaining to his 
mother regarding the loss op the pie and his 
mother's response that temptation is hale the 
CAUSE OF CRIME. Jim EXPERIENCES the great fear 
OF DISCOVERY. 

Exterior. Fence between Jim’s Mother’s house and 
neighbor’s. 

Jim listening to the conversation through the back 
fence; suddenly realizes the possibility of examination 
by his mother, closely looks over his clothing, brushes 
off all crumbs, and wipes his face with both sleeves. 

Interior. Sitting-room of Jim’s Mother’s home. 

Jim in, his face portraying the development of cunn¬ 
ing and self-consciousness. He has slipped into the 
house, seizes a picturebook, and pretends to be stud¬ 
iously copying pictures on a piece of paper, all the 
while casting furtive glances at the door. Iris out 

Lack of companionship and desire for enter¬ 
tainment BEGET CRIMINAL THOUGHTS, WHICH DEVEL¬ 
OP INTO ACTIONS. 

Exterior. Fence between two yards, showing both 
yards. 

Jim on the back fence with fish-rod and bent wire, 
fishing the childrens toys from the adjoining yard. 
Securing small automobile and other toys, sneaks 
away. Fade out and into 

Interior. Garret of Jim’s home. 

Jim in, examining the proceeds of his haul. Hides 
them under rubbish. Iris out. 

Jim, at age of sixteen, decides to go to the city 

FOR THE BROADER APPLICATION OF A TALENT NOT SUITED 
TO A SMALL VILLAGE. 

Exterior. Jim’s cottage. 

Jim coming out of front door with suitcase and bag. 
Places the bag on the step and holds door partly open, 
as though conversing with someone within. Closes 
door, picks up bag, passes out through the gate and 



PHOTOPLAYS 


229 


Sub-title 


Scene 8 

Insert 

Advertise¬ 

ment 

Scene 9 


Scene 10 


Insert 

Letter 


down the street, from time to time looking back to 
cottage. Once places the suit case on side walk, waves 

hand, switches bag and passes on. Iris out. 

Jim arrives in city, finds a lodging-place for 
the night. Overhears a conversation between 

TOUGHS IN WHICH IT IS AGREED THAT CRIMINALS ARE 
NEVER REFORMED BY DRASTIC PUNISHMENT. ALSO HE 
DISCOVERS THAT THE WEAKEST POINTS IN ALL CRIMIN¬ 
ALS ARE LOVE OF MOTHER, LOVE OF SWEETHEART, AND 
LOVE OF SELF. 

Exterior. Park scene, bench in foreground. 

Jim sitting on bench reading newspaper. 

Room to let, to moral young man, in private family. 

Jim smiles, hastily folds up the paper and walks 
away. Iris out. 

Exterior. Modest house. 

Jim mounts steps with bags, rings bell, door partly 
opens, and his actions indicate a conversation with 
someone within. The door is opened wide and Jim 
enters. 

Interior. Room in lodging house. 

Jim looking about his room, opens his bag, examines 
lock on door, opens, and looks into closet. Examines 
lock on closet door, tries the key, goes to window, 
looks out, tries shade, and appears satisfied. Seats 
himself and writes mother a brief letter. 

Dear Mother : 

I arrived safe, have found nice, 
cheap room in private family. Will look for a 
job to-morrow. Take good care of yourself. I 
will soon be sending you money, so you won’t 
have to work so hard. 

Affectionately, 

Jim. 

Seals letter, places small bag in closet, locks door, 
places the key in his pocket and leaves room. 



230 


PHOTOPLAYS 


Sub-title 


Scene ii 


Sub-title 

Insert 

Letter 


Two YEARS PASS AND THE NEWSPAPERS ARE FEATUR¬ 
ING THE EXPLOITS OF ONE ‘INVISIBLE JlM, GENTLEMAN 
BURGLAR.” No ONE HAS EVER SEEN HIM, AND ONLY 
BY THE TRACK OF A “CLASSY” SHOE IS IT ASSUMED 
THAT HE IS A GENTLEMAN. No ONE CAN EXPLAIN WHY 

h|e is called Jim. 

Interior. Same as Scene io. 

Jim enters room; removes long top-coat, casts it 
upon the bed. Opens his coat and unbuckles a belt, 
to which are attached two pockets or bags. From 
one pocket he removes a compact case, opens it, re¬ 
vealing bright steel tools. These he examines, then, 
going to the closet, he unlocks it and brings out the 
leather bag, placing the tools in it, together with a 
mask that he draws from an inner pocket. From the 
second bag he removes a handkerchief tied into a 
bundle. He unties the handkerchief and opens it upon 
the table, revealing money and jewels. Placing the 
belt and pocket into the bag, he carefully locks it, and 
returns it to the closet, then locks the door. He now 
removes his coat, lights a cigarette, seats himself at 
the table, and examines the loot. In all this acting 
there must be no show of excitement or fear, his 
every facial expression being that of a self-contained 
person, sure of his safety. He neither gloats nor 
shows undue pleasure or excitement, only a calm, 
satisfied smile and occasional shrug of his shoul¬ 
ders indicate any special emotion. Diaphragm 
CLOSES SLOWLY AS JlM COUNTS MONEY. 

Sunday. Jim writes his mother a letter. 

Dear Mother: 

Am doing well in the jewelry bro¬ 
kerage business; have saved some money.I 

enclose you an extra check for your birthday. 
May your future ones be happier. T am very 
well and getting stouter. 

Much love, 

Jim. 





PHOTOPLAYS 


231 


Sub-title 
Scene 12 

Insert 

Scare-head 

Scene 13 

Sub-title 

Scene 14 


Insert 

Picture 


Next Morning 

Interior. Same as Scene ii. 

Jim in, opens paper, and reads: 

GENTLEMAN JIM AT WORK AGAIN; 

Robs House on Seventh Street, as Usual, 
Leaving not the Slightest Clue. 

Exterior. Evening. Church in foreground of 
Street. 

Jim seen on street approaching a small church. As 
he passes the open door, he pauses and assumes an 
attitude of listening. He hesitates, then enters the 
church. 

While in church Jim sees the pastor empty the col¬ 
lections into a tin receptacle, lock it, and place it in a 
cupboard on the wall, and draw down a nearby window 
without fastening it. He overhears conversation sig¬ 
nifying the pastor is to hasten to perform a marriage 
ceremony at the bedside of a dying member of his 
congregation. 

Interior. Same as Scene 10. 

Jim, entering his room with the church box, quickly 
closes and locks his door, casts his hat upon the 
bed, laughs, and taps the box. Going to the closet he 
brings out his bag and removes a bunch of keys. 
After several trials he finds a key that opens the box. 
With evident amusement depicted on his face, he raises 
the lid and dumps the contents upon the table. He 
starts back and stares in stupid amazement. It con¬ 
tains not a cent in money. Gradually recovering from 
his surprise, he turns the matter about with his fingers. 
Picking up a photograph, he drops into a chair and 
examines the picture. 

A kindly-faced woman of middle age on the margin 
of which is this inscription: From Mummy to her 
dear son, Daniel. 

Jim picks up an old-fashioned daguerreotype and 
examines it. 



232 


PHOTOPLAYS 


Insert 

Daguerreo¬ 

type 


Insert 

Picture 


Insert 

Bible 


Sub title 


Scene 15 


Scene 16 


Scene 17 


Picture of a fifteen-year-old boy, scratched on the 
margin is the name: Daniel Bryson. 


He examines another picture. 

A comely woman of thirty. On margin is inscribed: 

“From Mary to her beloved husband Daniel. On 
the reverse side is written “Departed this life April 
6th, 1889, and my heart is in the grave with her.” 

Jim examines a small Bible. 

Inscription on fly leaf: To Daniel and Mary Bryson, 
from Mother. 

.— 

Jim picks up letters and some trinkets, which he 
merely fumbles and pushes aside, then he drops into 
a reverie. Depicted in Jim’s face are all the symptoms 
of mortification, humiliation, regret, as Diaphram 
closes. 

A blow to the conscience will do more to bring 
a criminal to a realization op his shamepull posi¬ 
tion THAN THE MOST DRASTIC PUNISHMENT. 

psagg* j 

Jim confusedly arises, turns foolishly about the room 
once or twice, then eagerly and hastily, and with tender 
care, returns the contents to the box, locks it, restores 
all the other things to their former hiding places, 
wraps the box in a newspaper, and leaves room. 

Exterior. Rear of church. 

Jim skulking in the shrubbery back of the church. 
Approaches window, listens, softly raises the window, 
and climbs within. 

Interior. Small church. Night. 

Jim groping with lighted match to restore box to 
its place in the closet on the wall. Front door of 
church opens, letting in light. Jim quickly closes 
closet door and bounds through the window. 

Exterior. Same as Scene 15 .Showing window 
at back of church. 



PHOTOPLAYS 


233 


Scene: 18 

Cut in 

Sub title 

Scene 19 

Cut in 

Sub-title 
Scene 20 


Jim appears in window, slips, falls heavily to the 
ground beneath. He arises, places his hands to the 
back of his head, and writhing in agony, staggers 
away into the shrubbery, with every indication of 
being badly injured. Terrible struggle to make, his 
way from scene. 

Interior. Same as Scene ii. 

Jim staggers in, closes the door, and falls heavily 
upon the floor, rolling about in great agony, his eyes 
constantly turning to the closet where his burglar kit 
and other evidence of his calling are concealed. Speaks 

“O Mother! If I am spared the strength to conceal 
my shame, I will send for you.” 

He drags himself across the floor, showing paralysis 
of the lower limbs. He attempts to reach the closet 
door-knob, but cannot raise himself, dropping help¬ 
less to the floor. He manages to reach the button and 
turn out the light. 

Jims mother came and nursed him back to sueei- 

CIENT STRENGTH TO ENABLE HIM TO RETURN HOME 
WITH HER. 

Interior. Same as Scene 4. 

Jim a convalescent sitting in the old home. Mother, 
invisible, in rear room. Jim indicates he is convers¬ 
ing with her through open door. 

“Mother, did you bring my motor-cycle tool kit 
home with us?” 

“Yes, son, they are in your bag in the garret.” 

Jim raises up in his chair and looks scared, staring 
toward the other room. Shakes his head despairingly 
and drops into meditative attitude. 

Jim's mother goes eor an aeternoon visit to one 
oe her neighbors. 

Interior. Same as Scene 4. 

Jim peers out of window, fastens all the doors, and 
goes hastily out. Fade out and into 



234 

PHOTOPLAYS 

Scene 21 

Interior. Same as Scene 6 . 

Jim climbs ladder, finds kit bag. He hastily ex¬ 
amines the contents. First he takes out three masks, 
then two large pouches or pockets, then a number of 
tools such as house burglars use, including bunch of 
keys, all the while indicating great mental distress. 
For a moment he drops his head upon his arms. 
Suddenly arising, he casts the bag into the closet, 
wraps the tools in a newspaper, goes out. 

Scene 22 

Interior. Kitchen of Jim’s cottage. 

Jim enters, burns the bags and masks in the kitchen 
stove. Slipping cautiously out of the rear kitchen 
door . Fade to 

Scene 23 

Exterior. The old swimming pond. 

Jim comes up, sits upon the bank, and one by one 
he casts the tools into the pond, then scatters the keys 
broadcast over its surface as Diaphragm slowly 

CLOSES. 

Scene 24 

Interior. Same as Scene 4. 

Jim enters living room and goes to a small desk, 
writes a note to his mother: 

Insert 

Note 

Dear Mother: 

Do not feel hurt that I go without 
bidding you good-bye. You need not worry. I 
love you more than ever. You will have no 
reason to feel ashamed of me in the future. I 
have learned my lesson. Just as soon as I am 
established in a respectable position I will come 
for you. I will also write to you often. 

My best love is always yours. 

Most affectionately, 
Jim 

Jim puts note on table. Iris out. 



JIM IS DRUNK AGAIN 












I 

















PRINCIPAL CHARACTERS 


CAST 

Judge Jim Holcomb .A Jovial Soul 

Mrs. Jim Holcomb . His Wife 

Dr. John Purdy .A Prohibitionist 

Mrs. Dr. John Purdy. The Doctor’s Wife 






































































’ 



























PHOTOPLAYS 


239 


Leader 


Scene i 
Sub title 


Cut in 


Cut in 


Cut in 


Cut in 


CONTINUITY 

Behind the visible trend of our so-called human 
progress, as behind a screen, lurks a real psychological 
power, which seizes upon very important opportunity 
to physically manifest itself. It knows neither good 
nor evil, neither is it any respecter of persons,—prince 
or pauper, priest or laymen, one is as good an agent 
as another. In the final discard they all go the same 
way.- Judge Jim Holcomb. 

Interior. Office of Judge James Holcomb. 

Judge Jim Holcomb. 

A competent man, with savage visage, large nose, 
keen, sharp, shifting eyes, pudgy hands and strong 
self-assertion. He is seated at his desk looking over 
the newspaper, shifting the pages about nerviously. 
Suddenly he springs to his feet, slams the paper upon 
the desk, glares savagely at it, and exclaims: 

“To hell with such blather! To press this pro¬ 
hibition movement to such extremes will flood the 
country with justifiable crime.” 

He is standing with his back toward his office door. 
As he slams the paper down, the door opens and a 
man stands listening to his speech. Enter Dr. John 
Purdy, saying: 

“There you are, Jim. If you cannot find anyone 
else to fight, you fight yourself.” 

The Judge turns sharply, and seeing Dr. Purdy, 
raises his hand, speaks 

“Come in, Doc, you damned old hypocrite. I’m in a 
humor to say things to you. Sit down there.” 

He shoves a chair to the doctor, seats himself, and 
at once begins wagging his finger in the Doctor’s face. 

“So you doctors have joined the barkeepers union, 
have you? Do you think I’m going to ask you every 
time I want a drink? Not on your life.” 





240 


PHOTOPLAYS 


The Doctor sits up and listens in astonishment, asks: 

Cut in “What’s it all about, Jim?” 

Jim pounds the desk and roars: 

Cut in “Do you mean you don’t know that the only way 

a man can get liquor hereafter is to pay some quack 
doctor to prescribe it?” 

The Doctor looks confused. The Judge continues 
to wag his finger at the Doctor, then demands: 

Cut in “Am I a drunkard ? Did you ever see me drunk ?” 

The Doctor shakes his head. Jim speaks 

Cut in “Then why must I come to you and tell a lie to get 

a drink, if I want it, or hide it like a thief, because 
one man out of fifty thousand gets drunk?” 

The Doctor looks at Jim. Jim continues: 

Cut in “No, sir, there’s something crooked somewhere. 

Your damned hypocrites are preaching that all alco¬ 
holic drinks are poison, and you fellows are going to 
tell a man that he needs poison, and reap a fortune 
by prescribing it.” 

The Doctor appears outraged; speaks 

Cut in “Jim, I’m surprised. Why, the whole Christian world 

is in favor of prohibition.” 

Jim bounds to his feet, cries 

Cut in “You talk like a fool, Doc, the clergy and the doctors 

are the only ones provided for. There are hundreds 
of passages throughout the Bible recommending wine. 
Every great character in the Bible was a wine drinker, 
including Christ himself.” 

The Doctor throws up his hands, makes an im¬ 
patient gesture, and suddenly turns to Jim, asking: 

Cut in “What is this I hear about your resigning, Jim? 

Anything to it?” 

Jim doggedly pushes a letter toward the Doctor, who 
carefully reads it and looks sharply at Jim. Jim 
hammers the desk, saying: 



PHOTOPLAYS 


241 


Cut in 


Cut in 


Cut in 
Scene 2 


Cut in 


Cut in 


Insert 

Letter 


Scene 3 


“Do you think I’m going to stultify myself by aiding 
such an ungodly assault upon human rights ?” 

The Doctor straightens up, looks coldly at Jim, and 
says: 

“Jim, we have been friends for thirty years, but 
here is where we part.” 

Jim bounds to his feet, glares at the Doctor, and 
points to the door, shouting: 

“Good-bye!” 

Interior. Dr. Purdy's Study. 

The Doctor with his hands behind his back is pac¬ 
ing back and forth across the floor. Mrs. Purdy is 
sitting at table with pursed lips and impatiently tossing 
her lorgnette. She raises her head, and the Doctor 
pauses. She speaks 

“John, at the club to-night, I'm going to make an 
example of Judge Holcomb. Such arguments as his 
are blasphemous.” 

The Doctor shrugs his shoulders, and replies: 

“Nevertheless, they are unanswerable.” 

Mrs. Purdy indignantly arises, flaunts her skirts, 
and leaves the room. The Doctor seats himself and 
writes a letter, then leans back in his chair and reads 
it. 


My dear Mrs. Hoecomb : 

Jim and I had a little disagreement to¬ 
day, but I beg that you do not take the matter 
seriously, should he mention it. I should feel 
greatly grieved should it disrupt the long friend¬ 
ship between Fanny and you. I shall always hold 
you in highest regard. 

Sincerely yours, 

John Purdy. 

Interior. Sitting-room of Judge Holcomb's home. 



242 


PHOTOPLAYS 


Mrs. Holcomb, a sweet-faced, patient woman sits 
knitting. She looks up and see Jim enter the hall, 
arises, and greets him, helping him off with his top 
coat. The Judge kisses her cheek, places his arm 
about her, and they pass back into the sitting-room 
and take seats. The Judgt half smiles, draws a news¬ 
paper from his pocket, and pretends to read it, but 
exposes to Mrs. Holcomb a newspaper scare-head. 

Insert JUDGE JAMES HOLCOMB RESIGNS 

Newspaper says wire not stuetiey himseee 

Scare-head by supporting prohibition taws 

Mrs. Holcomb quietly lays down her knitting, 
speaks 

Cut in “Jim, have y° u resigned?” 

The Judge leans back in his chair and laughs heartily, 
turns the paper over and points to the heading. 

Cut in “Did you see it?” 

Mrs. Holcomb sits thoughtfully for a moment, 
gathers up her knitting, and begins to knit, saying: 

Cut in “I guess you know best, Jim.” 

Jim leans forward and pushes her knitting down 
into her lap, asking: 

Cut in “Are you disappointed, honey?” 

Mrs. Holcomb laughs, as she replies: 

Cut in “Not at all, Jim, we have all we need to make us 

comfortable, and I should like to see you devote the 
balance of your life to your psychological work.” 

The Judge arises, kisses her cheek, strokes her hair, 
and says: 

Cut in “You are a real wife, Jane, I want your assistance 

in an important experiment.” 

His wife looks up inquiringly, and their attention 
is drawn to the door. Mrs. Holcomb arises and goes 




PHOTOPLAYS 


243 


Cut in 

Sub-title: 
Scene 4 

Cut in 

Scene 5 

Cut in 

Scene 6 


to the door. A messenger enters, delivers a note. 
Mrs. Holcomb returns to the Judge, opens the letter, 
reads it, and hands it to him. The Judge reads it and 
laughs heartily. He leans close to her, and earnestly 
explains something to her; speaks 

“And listen, Jane. I’m going to make a horrible 
example of this egotist, and you must play your part.” 

The Judge now talks earnestly, emphasizing his re¬ 
marks with gesture. Mrs. Holcomb laughs as he 
lays down his plan. Jim catches her by the arm and 
they both laugh as Diaphragm closes. 

Monday, One Week Later 

Interior. Same as Scene 3. 

Mrs. Holcomb at telephone, speaking: 

“I don’t like to ask you, Doctor, but Jim is drunk. 
I can’t call anyone else. Please come right over.” 

Interior. Doctor Purdy’s Office 

Dr. Purdy at telephone receiving Mrs. Holcomb’s 
message. Looks startled, nods, grins. Hangs up re¬ 
ceiver. Pauses and crushes his fist in hand, looks 
puzzled, says: 

“The old brute! I’ll catch him redhanded.” 

He hurriedly prepares, takes his medicine case, and 
leaves office. Cut to . 

Interior. Same as Scene 4. 

Mrs. Holcomb watching out of window, hurriedly 
goes through rehearsal before mirror, clasping her 
hands and distorting her face as though in great men¬ 
tal distress. She opens the door, and admits Doctor 
Purdy. Places her finger upon her lips and points to¬ 
ward the ceiling and they stand and listen. The Doc¬ 
tor jumps as though hearing noises above. Mrs. Hol¬ 
comb hurriedly makes some explanation, leads the 
Doctor to a cupboard in the dining-room, opens the 
door and exposes an array of liquors. The Doctor 
strokes his chin, shakes his head, and says: 



244 


PHOTOPLAYS 


Cut in 

Cut in 
Scene 7 

Cut in 

Cut in 

Cut in 

Scene 8 
Cut in 


“He may murder me, but I’ll go up, Jane.’’ 

A voice from the head of the stairway roars: 

“Hey! Do I get some tea or not?” 

Interior. Hallway in Holcomb house, showing 
stairway. 

The Doctor and Mrs. Holcomb appear in the hall 
and look up at Jim, who stands at the head of the 
stairs, soppy drunk. Jim brushes his hand across his 
eyes and looks down at them, asking: 

“Who th’ ’ell is in my house?” 

He attempts to start down stairs. Mrs. Holcomb, 
in a state of terror, hurriedly says: 

“Why, it’s Dr. Purdy making a call, Jim.” 

Jim sways at the top of the stair a moment then 
laughs, saying: 

“Huh! Come t’ ’pol’gize eh? I thought so. Come 
up, you old rogue. You’r jes in time for tea. Iced 
tea, hear, Jane?” 

The Doctor goes up the stairway. Jim is standing, 
swaying back and forth, at the head of the stair. He 
has on a long lounging gown and big cloth slippers. 
His hair looks like a mop, standing out in all direc¬ 
tions. He is unshaven, and generally untidy. As the 
Doctor approaches him he grins, half drags him into 
his den, grins, and winks. 

Interior. Jim Holcomb’s Den. 

Jim enters, dragging the Doctor. Jim speaks 

“Can’t get it without a prescription, eh? I’m a little 
fussed up, but don’t tell Jane. Wouldn’t have her 
know it for the world.” 

Jim is so funny the Doctor is compelled to laugh. 
Jim looks over himself questioningly. Then he looks 
savagely at the doctor, asking: 

Aren’t laughin’ at me, are you ?” 


Cut in 




PHOTOPLAYS 


245 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Scene 9 


The Doctor catches himself, answers : 

“No, Jim, I was laughing at your hair. Look in the 
glass.” 

The Doctor picks up a square mirror from the table 
and holds it up before Jim’s face. Jim snatches it 
out of his hand and places it in its former position, 
then pushes the Doctor down into a chair. Mrs. 
Holcomb enters with a glass pitcher, filled with iced 
tea, and two tall drinking-glasses. She pours each 
glass full to the top and retires, taking the pitcher with 
her. The Doctor raises his tumbler and motions 
towards Jim, speaks 

“Well, here’s to you, Jim.” 

Jim starts to raise his glass, hesitates, and places 
it down upon the table, saying: 

“No! dam’ if I drink to any quack doctor! Drink 
to yourself.” 

And he motions toward the mirror. The mirror is 
standing directly in front of the Doctor. He notices 
his reflection, and waves his glass toward it, remarking: 

“All right, Jim. I’ll have to drink to myself.” 

They talk, Jim apparently growing drowsy. Fin¬ 
ally the Doctor arises, offers his hand to Jim, and says: 

“That’s the best tea I ever tasted. I’ll come over 
every day, Jim, if you are going to be at home.” 

Jim laboriously gets to his feet, heaves a deep sigh, 
shakes hands with the Doctor, and says: 

“Sure, Doc, you damned old hypocrite. Come over 
twice a day. I’ll make a drunkard of you.” 

He settles back in his seat and his head drops upon 
his chest as the Doctor passes out. 

Interior. Same as Scene 7. 

Mrs. Holcomb stands at the foot of the stair with 
troubled face. The doctor shakes his head and looks 
dolefully at the floor saying: 



246 


PHOTOPLAYS 


Cut in 

Cut in 

Cut in 

Cut in 

Cut in 

Leader 
Scene 10 

Cut in 

Cut in 

Cut in 


“How long has he been in this condition ?” 

Mrs. Holcomb wrings her hands, speaks 

“It’s been getting worse each day for three days, 
Doctor.” 

The Doctor takes a vial from his case, and says: 

“Put three drops in his coffee three times a day. 
I’ll run over every day at this time.” 

Mrs. Holcomb lets the doctor out, steps to the 
stairway, and whistles. Jim appears, laughing, and 
speaks 

I’ll be down in a minute, honey.” 

He comes downstairs properly dressed, takes his 
wife by the shoulders, and they both laugh heartily. 
Jim speaks 

“I tell you, Jane, this thing will work,—sure. It’ll 
make ’em sit up and take notice.” 

Tuesday 

Interior. Same as Scene 3. 

Mrs. Holcomb knitting, Jim reading. Mrs. Hol¬ 
comb picks up telephone receiver, speaks 

f< Oh, it’s you, Doctor. . . . Seems better this morn¬ 
ing.You will come right over? Thank you.” 

Jim lays down his book grinning, and says: 

“Bring the large pitcher, sufficient for four glasses 
of tea,—not too cold.” 

He turns and passes out. After a brief wait the 
Doctor enters. He speaks 

“Glad to see you looking more cheerful, Mrs. Hol¬ 
comb. How’s Jim?” 

Mrs. Holcomb goes to door, calls: 

“O Jim, the Doctor is here.” 

From somewhere above comes: 


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PHOTOPLAYS 


247 


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Scene ii 


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book 


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“Send him up.” 

Same as Scene 8. 

Jim is standing at the table with his hand on open 
book lying as though he had just placed it there, and 
does not want to lose the page. The Doctor, stiff and 
dignified, appears in doorway. Jim glares at him, 
saying: 

“Come in, you old saint. Cravin’ som’more of 
Jane’s good tea, eh?” 

The Doctor doggedly enters. 

“You don’t think I’m coming to see you, do you?” 

Jim winces, looks up, growls, and motions to the 
chair opposite the mirror. The Doctor slouches into 
the chair, and looks sullenly at Jim, saying: 

“You don’t mind my asking what you’re reading?” 

Jim places a thin paper-knife to mark the page, and 
hands the book to the Doctor, then steps to his book¬ 
case as though looking for a book. The Doctor cov¬ 
ertly examines the pages marked by the paper-knife. 
Observes underscored phrases: 

As a story is memorised by constantly impressing it 
upon the objective mind, by vision or sound , so is 
suggestion to the subjective mind strengthened by con¬ 
stant visible duplication. 

The Doctor quietly places the book upon the table 
and Jim returns and takes his seat. The Doctor asks: 

“Jim, have you any objection to discussing the 
psychology of intoxication?” 

Jim looks sharply and with suspicious eyes at the 
doctor, and slowly shakes his head. They are inter¬ 
rupted by the entrance of Mrs. Holcomb bringing 
their tea. She pours the glasses full of tea, leaves the 
pitcher standing on the table near Jim, and retires. 
The Doctor leans toward Jim, asking: 



248 


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“What gets drunk,—the mind or the body?” 

Jim looks at him with sharp, questioning eyes. 
Studies a moment, and answers: 

“The mind gets drunk and loses control of the body. ,, 

The Doctor looks concerned, then asks: 

“Can you demonstrate that?” 

Jim leans impressively forward and with his hands 
spread out upon his book, replies: 

“Doc, this is Tuesday. On Saturday evening I 
want you and Fannie to come over here. I will dem¬ 
onstrate to your satisfaction that the mind gets drunk 
and loses confidence in itself.” 

The Doctor smiles and nods assent. They sip their 
tea as they converse. Jim especially observes the Doc¬ 
tor making signs at himself in the mirror in front of 
him. He quietly refills the Doctor's glass and par¬ 
tially refills his own. The Doctor drinks his tea with 
great relish, then asks: 

“If it is a fair question, Jim, what quantity is neces¬ 
sary to produce intoxication?” 

Jim looks at him with alert, suspicious eyes, as he 
replies: 

“You can’t gauge it by quantity. It depends upon 
mental condition. I can get drunk every day on a 
single drink, if left by myself.” 

The Doctor quickly exclaims: 

“Now, you’ve said something. Jim, will you allow 
me to arrange with Jane to supply you with one 
drink a day till Saturday. And on your word of 
honor you will take no more?” 

Jim chuckles, answering: 

“That goes.” 

They shake hands and the Doctor passes downstairs. 


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Scene 12 


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PHOTOPLAYS 


249 


Wednesday Morning 

Interior. Same as Scene 2. 

The Doctor and Mrs. Purdy talking. Attention 
drawn to telephone. The Doctor listens and dashes 
down the receiver. Mrs. Purdy looks up inquiringly. 

The Doctor shakes his head, speaks 

“Jim’s drunk again.” Iris out. 

Interior. Same as Scene 7. Showing front door. 

Mrs. Holcomb nervously waiting. She opens door, 
and Dr. Purdy enters. She places finger on lips and 
points up stairway. Dr. Purdy asks: 

“Are you sure he only had one drink?” 

Mrs. Holcomb nods. The Doctor puckers his lips, 
looks thoughtfully at the floor, shakes his head and 
looks up the stairway, nods to Mrs. Holcomb, and 
goes up the stairs. Cut To 

Interior. Same as Scene 8. 

Jim is seated, leaning on table, his face in his arms 
as though asleep. The Doctor approaches and looks 
down at him in disgust. Picks up book lying open 
with a marked passage. 

Water is as potent as alcohol to induce intoxica¬ 
tion, if the mind is properly prepared by cumulative 
suggestion. 

The Doctor places the book upon the table and his 
hand upon Jim’s shoulder. Jim attempts to brush it 
off. At length he raises his shaggy head and stares at 
the Doctor, asking: 

“Huh, ain’t you gone yet?” 

Mrs. Holcomb brings a pitcher of cold tea, Slyly 
nods at the Doctor and places it on the table. The 
Dbctor fills a glass and offers it to Jim, who rudely 
pushes it away saying: 

“I won’t drink with a damned quack doctor.” 



250 


PHOTOPLAYS 


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Scene 16 


The Doctor sits down, looks in the mirror, holds 
up the glass of tea, and salutes his reflection, with 

“Hello, Doc! Old rubber face refuses to drink with 
me, I’ll drink with you.” 

Jim raises up and laughs boisterously, hammers on 
the table and pokes the Doctor in the ribs, crying: 

“Ha! Ha! that’s right,—you quacks stick together. 
You’re gitten yours.” 

The Doctor drinks the tea and turns to talk to Jim, 
who seems to arouse from his torpor. Jim speaks 

“Say, Doc. I have something to tell you, but not 
till Saturday. You’ll sure come here Saturday even¬ 
ing” 

He takes the pitcher, pours out twp glasses of 
cold tea, pushes one to the Doctor, and holds one 
himself. They drink the tea and Jim perceptibly 
sobers up. The Doctor points to the mirror,—now a 
three-piece duplicating mirror, which has replaced the 
previous mirror,—saying: 

“I can now drink to myself three times instead of 
one.” 

Jim suddenly draws his arm across the table and 
knocks a book to the floor. They both scramble to 
pick it up, and remain standing. The Doctor walks 
out and Jim waves him good-bye. 

Interior. Same as Scene 7. 

At the foot of the stairs the Doctor is met by Mrs. 
Holcomb. He places his finger upon his lips and 
looks up the stairway, speaks 

“I’ll run over at three as usual. Leave him alone.” 

Saturday Evening 

Interior. Same as Scene 8. 

Jim and Mrs. Holcomb are arranging the den. Mrs. 
Holcomb polishes off the triple mirror,—Jim places his 



PHOTOPLAYS 


251 


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Scene 18 


books just so, also the chairs. He and his wife look 
about and laugh. They place upon the reading lamp a 
shade and Jim places the lamp in a manner to cast its 
light into the mirrors. He lifts up the mirror and Mrs. 
Holcomb places a cloth beneath it. Jim laughs, say¬ 
ing: 

“Look at the strange effect of blending the long 
red ray with the short violet ray, as reflected in the 
mirrors.” 

Mrs. Holcomb looks into the mirror and expresses 
her amazement. Jim continues: 

“This will tip him over, and he will see snakes ” 

Interior. Same as Scene 7* 

Jim and Mrs. Holcomb in. Dr. and Mrs. Purdy 
enter. Mrs. Purdy rather stiff and distant. After 
the greetings, the Judge and the doctor excuse them¬ 
selves and go upstairs as Diaphragm closes. 

Interior. Same as Scene 8 with arrangement in 
Scene 16. 

Jim seats the Doctor in his usual chair, opens a 
book, and begins to look for a passage. He picks up 
an empty tumbler between them, and places it so that 
it is reflected by the three mirrors. The Doctor spends 
most of his time fingering this glass and looking into 
first one mirror and then another. Jim places two 
additional chairs, steps to the door and calls. Returns 
and takes his seat. Mrs. Holcomb and Mrs. Purdy 
enter den, Mrs. Holcomb brings a large glass pitcher 
filled with iced tea. She pours out a glass for each 
man and she and Mrs. Purdy seat themselves. All 
converse. Suddenly, unbidden, Dr, Purdy reaches for 
the pitcher and refills his glass, a little later Jim refills 
it for him. The Doctor stares at the table. A little 
snakelike worm is seen creeping across the table. 
Jim pushes his elbow against some books and they fall 
to the floor. The Doctor hurriedly picks them up. 
He leans over to Jim, looks at the table, puts his fin- 



252 


PHOTOPLAYS 


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gers against his body, and looks down in his lap and 
asks: 

“Did you see anything?” 

Jim purses his lips, looks much surprised, stares 
about the table and upon the floor, and shakes his head. 
The Doctor leans back in his chair and laughs uproar¬ 
iously. Mrs. Purdy stares; Jim laughs at him in a- 
mazement. A little tea remains in the pitcher; the 
Doctor reaches for it, pours it into his glass, gulps it 
down, and smacks his lips. As he looks at the table 
a small lizard runs across it and disappears among the 
books. The Doctor bounds to his feet, looks with 
horror at the table and among the books. Jim rises 
and stares at him, as do the ladies. The Doctor points 
at the table, saying: 

“Did you see it?” 

Jim looks at the ladies, and shakes his head as 
though puzzled. Mrs- Purdy comes to the Doctor’s 
side, and asks: 

“Why, John, what ails you?” 

He looks foolishly at her, puts his hand up to his 
head, saying: 

“I think we’ll go home. I don’t feel just right.” 

Jim and Mrs. Holcomb are solicitous regarding 
the Doctor. They start to leave the room. The Doc¬ 
tor bursts into laughter and begins to talk rapidly as 
they prepare to leave. As they stand ready to go the 
Doctor pokes his finger into Jim’s ribs, and cuts a 
boyish caper, speaks 

“You old rogue, you!” 

When they are gone Jim and Mrs- Holcomb stand 
looking at each other. The Judge makes a face, and 
they both laugh as Diaphragm closes. 



PHOTOPLAYS 


253 


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Scene 19 

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Sunday 

Interior. Same as Scene 3 

Jim and Mrs. Holcomb seated reading. Mrs. Hol¬ 
comb picks up the telephone receiver, starts, stares at 
Jim and listens, her eyes are protuding. speaks 

“John has delirium tremens, and is yelling for tea.” 

Jim bounds to his feet and exhibits great astonish¬ 
ment, crying: 

“Great God! Suggestion is more powerful than 
alcohol.” 

Mrs. Holcomb holds up her hands and looks at him, 
as he continues: 

“Why, Doc is just a common drunkard from drink¬ 
ing. He is a 'tea-toper’. He’s on an habitual jag.” 

Mrs. Holcomb looks anxiously at Jim, saying: 

“Why, he surely couldn’t become that here!” 

The Judge explains: 

“It’s this way. Jane: I multiplied his tea threefold 
by the use of the mirrors. He became a drunkard by 
suggestive vision. He hypnotized himself into a tea- 
toper.” 

Mrs. Holcomb stands with mouth open, and eyes 
staring; speaks 

“What will you do, Jim?” 

Jim raises himself up, exhibits great anger, speaks 

“Do! Why, damn him, I’m going to exhibit him 
as a horrible example, and propose the prohibition of 
tea-drinking.” 
































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THE TALE OF A RED SHIRT 




PRINCIPAL CAST 


Young Mountaineer 
His Young Wife 

Male Lead 

Village Clergyman 
.Village Doctor 
.Village Storekeeper. 

.Village Store-loafers 


Female Lead 


Sheriff. 

To John and Jane Roscoe are born twins,—two very fat babies. 
Doc. Melford leaves the sick room, kids John as he passes out. 
He goes to the village store where a stirring scene of banter and 
wit ensues. Doc declares the kids came into the world fighting, and 
one had a black eye. 

The twins split the town. At the age of four months they had 
to be separated,—John buying the only other cradle in Hez Taylor’s 
store. The only way they could be differentiated was by a red 
cord, which the mother tied about the wrist of one. This cord 
had several times come off, hence they were hopelessly mixed. 
They were getting fatter daily. Jane at last adopted the scheme 
of keeping a red shirt on one boy and a white shirt on the 
other, which caused them to be named Red Jim and White Jim. 

At the age of seven the twins are rollicking boys. White Jim 
makes it a practice to steal Red Jim’s shirt when he wants to pull 
off something, or avoid doing something. This was due to the 
iact that Jane had taken to Red Jim and John to White Jim. Their 
change of shirts gives rise to numerous strange and stirring 
situations. 



John Roscoe __ 

Jane Minter ... 

White Jim. 

Red Jim . 

Rev. Silas Wood 
Doc. Melford .. 
Hez Taylor .... 

Lem Hiers . 

Cal Tait. 

Susie Dana .... 
Betty Dana .... 
Mike Murphy . 

Bob Dana . 

Tony Mix. 


257 
















258 


PHOTOPLAYS 


The mother, Jane, had developed an instinctive means of identi¬ 
fying the boys at the age of fourteen, and began to anticipate 
White Jim and put upon him harder tasks when he confiscated Red 
Jim’s shirt. This developed amazing situations. 

At the age of twenty-one both boys are in love with Susie Dana and 
many trying situations arise, finally culminating in the comedy 
that puts Cedarville on the map, and marries the boys to Susie 
and Betty Dana. 

Mike Murphy, the town bum, is found loaded on moonshine 
wmskey by White Jim, who conspires with him and Bob Dana 
to pretend to be running a moonshine whiskey still up in the 
mountains, with the view of getting Red Jim up in the hills, 
getting him drunk, and disgracing him. The two boys now 
weigh about two hundred and fifty pounds each. The conspirators 
succeed so far that Red Jim confides to their father his fears that 
White Jim has fallen from grace, and he and his father consult 
Sheriff Tony Mix. The Sheriff deputizes Red to go bring White 
Jim in. He provides him with pistol and handcuffs, and Red rides 
up into the mountains in quest of his fat brother. 

Red is captured by Mike Murphy and Bob Dana who put on 
masks and waylay him near where White awaits him. They take 
him before White, and Red asks White if he will return with him 
without resistance. This enrages White and they engage in a des¬ 
perate fight in which their shirts are reduced to shreds. Mike and 
Bob divide up the white and red shirts, putting half white and 
half red on each. Place them on two horses handcuff them together, 
and parade them through the town, putting the town in an uproar. 
They induce the boys to make up and shake hands. 

White Jim and Red Jim take arms and start to walk to their home. 
They meet their mother and Susie Dana and at once begin to 
squabble. 

Red secretly makes an engagement with Susie to go to the 
minister’s and get married. After it is too late White guesses what 
is going on. There had long been an understanding that the first 
boy bringing home a wife should remain there and the other boy 
should find some place else to live, to avoid mixups and errors. 
White seeks Betty and they also rush off to the minister’s and are 
married. 

Red and Susie stop in at Hez Taylor’s store and White and 
Betty hurry home. 



PHOTOPLAYS 




When Red and Susie reach home, they find White in a white 
shirt, Betty, John, and Jane all seated on the porch. 

White introduces Betty as his new wife and asks Red where 
he and Mrs. Roscoe are living. As Red leaves, White goes inside, 
gets one of Red’s shirts and throws it at him, saying he will 
have no further use for it himself. 


CONTINUITY 


Leader Episode One—Age, One Hour 

Snuggled down in the foothills of a certain 
range of Virginia mountains, is a strange and 

SILENT LITTLE VILLAGE, SWINGING, EIKE A CROWDS 
NEST, BETWEEN CIVILIZATION AND THE WILDERNESS. 

Its oldest inhabitant. Sad Powell, who does 

THE OFFICIAL TALKING FOR THE TOWN, MENTIONS 
TO CASUAL STRANGERS THE PHENOMENAL GROWTH OF 

Cedarville. In 1868, it had eight inhabitants; 

IN 1878, IT HAD FORTY; AND IN 1892, IT WAS CRAMPED 
WITH FOUR HUNDRED SOULS, AND THERE IT HUNG 
FIRE. 

Another phenomenon also distinguishes Ce¬ 
darville,—BUT THAT IS OUR STORY. 


Sub-title 

Intro¬ 

duction 


Scene i 


The Marriage of John Roscoe to Jane Winter 

John is a tall, skinny, leathery young man dressed 
in the clothing and mannerisms of the earlier Virginia 
period,— tight fitting, home-spun, with sleeves and 
trousers a few inches shy. Being of the mountaineer 
clans, John is modest and bashful. Jane is a sweet 
young thing, plump and pretty; becomingly shy: 
dressed in ginghams, and has a heart a yard wide. 

Interior. Village Church. 

Present: Reverend Silas Wood, John, Jane, and 
Jane’s father and mother. Rev. Wood performs the 
ceremony and John and Jane, followed by others, pass 
out of the church. 


Exterior. Outside of Church. John and Jane 
enter buggy. 


Scene 2 



26 o 


PHOTOPLAYS 


Scene 3 


Leader 


Scene 4 


Scene 5 


Jane’s mother kisses her, and John places her in 
the buggy, shakes hands with the others, climbs into 
the buggy, and drives away. The others stand in a 
group looking after them. Iris out 

Exterior. A pretty cottage with picket fence, vines, 
and flowers, stable at rear, but in sight. 

John’s aged mother, a kindly-faced woman, is stand¬ 
ing at the gate. Buggy with John and Jane drives up. 
John gallantly lifts Jane from the buggy, takes her to 
the gate, where his aged mother takes her in her arms 
and pats her on the shoulder. John places his arms 
about both, kisses them, climbs into the buggy, and 
drives it to the stable in the rear of the house. Jane 
and the mother enter the house. 

One Year Later 

Accidents wide Happen in the Best Regulated 
Families* 

Interior. Living-room in John’s House. 

John is standing thoughtfully staring out of the 
window and displaying some nervousness. Old Doc. 
Melford, bespectacled, long coated, country doctor, 
tall, slightly stooped, and with a sprout of whiskers 
at a right angle with his chin, comes on. He is vigor¬ 
ously chewing tobacco, his whiskers wobbling about 
like those of a billy-goat. He picks up his hat, and 
begins to look John up and down, as though trying 
to solve some puzzle. Finally he clucks, wags his 
head toward the back room, pats John on the shoulder, 
laughs, and goes out of the cottage. Iris out 

Interior* Village Store- 

Usual gathering of store loafers, chewing, spitting, 
whittling and laughing at one another’s jokes. Lem 
Hiers starts to replemish the old-fashioned stove with 
wood. Hez Taylor, the proprietor, leans over the 
counter and points his finger at Lem, speaks 

“Be sparin’ o’ thet wood, Lem Hiers, th’ winter’ll 
be long an’ cold.” 


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261 


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Doc. Mel ford falls into the store all excited. He 
pulls a large quid of tobacco from his cheek, throws 
it at the stove, spits, and asks Lem for a “chaw,” then 
looks over the top of his spectacles in a mysterious 
manner. The others are in a state of suspended ani¬ 
mation. Lem’s poker is suspended in midair. Cal 
Tait pauses in his whittling and is holding his knife 
and stick like a snare-drummer waiting for his cue. 

The Rev. Silas Wood enters, and observes the 
strained attitude. Taylor speaks 

“For God’s sake, speak, Doc, afore we blow up! 
Don’t stan’ th’re like a tin Lizzy out’n gas. Is it a 
boy ’re a gal ?” 

Doc Melford leans forward, craftily looks about, 
and says: 

Twins!” 

There is a moment of silence as those present look 
at another, then Taylor speaks 

“God help us!” 

All crowd about Doc to get the particulars. Lem 
Hiers asks: 

“Boys or girls, Doc?” 

The Rev. Silas Wood draws near the group, 
speaks 

“Did you say brother Roscoe has been blessed with 
twins, Doctor?” 

Doc Melford looks at the preacher, turns and spits 
on the stove, chews briskly, and replies: 

“Blessed or cussed, he’s got ’em,— two big boys- 
An’ believe me, they come into the world a-fightin’, 
an’ one o’ ’em was born with a black eye!” 

Doc pauses to let this sink in. Then Hez Taylor 
cries: 

“Me f’r th’ kid that landed!” 



262 


PHOTOPLAYS 


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Sub-title 


Scene 6 


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Scene 7 

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All laugh. The preacher folds his hands, looks up¬ 
ward, and hurriedly leaves the store. Lem Hiers asks; 

“How is John?” 

Laughter,—all looking at Doc. who answers: 

“John’s a-sittin’ up takin’ nourishment now, but the 
blow nearly killed him. And that blessed Jane, why, 
she could do the family wash to-day.” 

Four Months Later 

The town was divided by these two big, 

CHICKEN LOBSTERS, AS ALIKE AS TWO BERKSHIRE PIGS. 

One could not be distinguished from the other 

EXCEPT BY A RED CORD TIED ABOUT THE WRIST OF ONE. 

This cord had come ope twice, hence, they were 

FOREVER MIXED. It WAS DECIDED TO CALL THEM BOTH 

Jim until nature diferentiated them. 

Interior. John Roscoe’s Home. 

Large cradle containing the two big, fat babies,— 
fighting and yelling. Jane, their mother, rushes into 
the room. John enters the front door. Jane picks up 
one baby, and John the other. Jane looks at the wrist 
of her baby, drops it in the cradle and grabs for the 
one John is holding, then looks at its wrist, opens the 
chubby fist, draws out a cord, and throws up her hands. 
John laughs. They stand and stare at each other. 
Jane speaks: 

“John, we must name these babies and mark them, 
or they’ll make me crazy. We can’t always call both 
of them Jim. And you must get another crib, for they 
are always fighting.” 

Iris out 

Interior. Same as Scene 5. 

Present, the usual crowd. John enters. All yell at 
him. 

“How’s the fightin’ kids, John?” 



PHOTOPLAYS 


263 


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Leader 

Scene 8 

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Scene 9 


John merely waves his hand, leans upon the counter, 
and talks with Hez. Hez adjusts his spectacles, looks 
across the store, and nods to John. John again waives 
to the crowd and leaves the store. 

Hez watches John till he is gone, then he slaps his 
thigh and laughs. All look at him inquiringly. He 
speaks 

“Well, I’ll be derned! if them kids ain’t a-fightin’ 
so they have to be sep’rated. John jes bo’t t’other 
cradle.” 

They all laugh heartily. Hez shakes his head sob¬ 
erly, says: 

I’m wonderin’ if this town is a-goin’ to be big ’nough 
to hold ’em when they grow up ” 

EPISODE TWO-AGE SEVEN YEARS' 

When the twins arrived at the age oe seven 
years, poor Jane pound a gray hair in the but¬ 
ter, and insisted that it was prom her own head, 

—HER CARES HAVING INCREASED SEVENPOLD. NA¬ 
TURE had played her a mean trick,—OH, MY/ 
She attempted to identity them by putting upon 

ONE A RED SHIRT AND UPON THE OTHER A WHITE 
SHIRT, BUT THEY SWITCHED THEM AT WILL. ThEY 

were nicknamed “Red Jim” and “White Jim.” 

Exterior. Front Porch of John’s Cottage, and 
Lawn. 

Jane and John’s mother sewing. Two big fat boys 
romping about the lawn, alike as two peas, with the 
exception of the red and white shirts. The boys come 
and speak to their mother who answers, admonishing 
them with her finger. Jane speaks, 

“Yes, you may play in the woods, but don’t you 
dare go in the water.” 

Exterior. Woodland Back of House- 

The two Jims teasing an old horse. They leave the 
horse and run to the bank of the brook flowing through 



264 


PHOTOPLAYS 


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Scene 10 


the woodland. They are both barefooted. They sit 
upon the bank and throw pebbles in the brook. The 
boy with the red shirt goes and paddles his feet in the 
brook. The boy in the white shirt soon follows. Thev 
cautiously climb to the top of the bank and peer back 
toward the house, evidently planning to disobey their 
mother. The one slips back down the bank and pulls 
off his red shirt. The other pulls off his white shirt. 
Red Jim slips out of his breeches and jumps into the 
brook. White Jim is about to follow but stops and 
listens. Jane’s voice speaks 

“Chil-l-dren!” 

White Jim cautiously seizes the red shirt, pulls it 
over his head, and runs quickly away, leaving the white 
shirt on the bank. Jane is seen coming across the lot. 
He runs to her. 

Favoritism, no matter where it is round, 
means antagonism. It begets trouble. Jane as 

NEARLY AS SHE COULD DISTINGUISH BETWEEN THEM, 
HAD ADOPTED RED JlM, WHILE JOHN HAD FAVORED 

White Jim. The boys were wise to this fact and 

MADE GOOD OR BAD USE OF IT WHEN SEEKING FAVOR. 
BUT NEITHER EVER COMPLAINED OF THE OTHER. 

John said they were game sports. 

Jane and Jim in the red shirt running to the brook. 
The other Jim is sitting on the ground, trying to pull 
his breeches onto his wet legs. The boys glare at 
each other. Jane looks puzzled. She helps the brother 
on with his wet clothes, and chases them back home. 
Diaphragm down. 

Exterior. Same as Scene 18. 

Jane on porch. Boys playing in yard. John enters 
gate, comes on porch and sits talking to Jane- They 
covertly watch the boys. John laughs. Jane seriously 
shakes her head, saying: 

‘Tm as sure as I’m living that White Jim put one 
over on Red to-day.” 


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Leader 


Scene ii 


Scene 12 


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PHOTOPLAYS 265 


Jane pantomimes what had occurred, finishing with: 

“And when I got to them he had put Red’s shirt on 
wrong-side-out. You can look for yourself.” 

John chuckles heartily; speaks 

“I hate to disfigure them. Durned if I know what 
to do. Let’s wait a while.” 

They arise, call to the boys, and pass into the house. 
Cut to 

EPISODE THREE—AGE FOURTEEN 

A TOWN DIVIDED IS AFRAID TO CELEBRATE FOURTH 

of July,— somebody might get shot. The two 
Jims had split Cedarville wide open. They 
were half the conversation of Hez Taylor’s 

STORE, and THE CHURCH CONGREGATION HAD MADE 
THE MIDDLE AISLE THE DIVIDING LINE, AND GLARED 
AT ONE ANOTHER MORE THAN THEY LISTENED TO THE 

Rev. Silas Wood’s sermons. When the twins 
came in on Sunday morning there was a riot. 

Exterior. Early Night. Same as Scene 8* 

A mid-winter scene,— ground and trees covered 
with snow, snow falling. John trudges up to porch 
with packages. 

Interior. Dining-room of Roscoe home. 

Grandmother sitting in dining-room knitting. The 
twins are sitting at the table, looking at picture book. 
Enter John covered with snow. Places packages on 
table, beats snow from his clothing, shakes it from his 
hat onto the boys, then uncoils a long muffler from his 
neck and ties it around them. All in a happy, laugh¬ 
ing mood. Jane enters from kitchen, looks at the 
packages, and on the floor, speaks 

“Why, where’s the kerosene, John?” 

John looks surprised and slaps his hand on his 
coat, saying: 

“There, by hokey! I thought I forgot somethin’.” 



266 


PHOTOPLAYS 


Cut in 

Scene 13 


Cut in 

Cut in 

Cut in 

Scene 14 


Jane picks up the packages, and says: 

“Never mind, John, it’s too cold to go back. I’ll 
send White Jim for it early in the morning.” 

The boys covertly look at each other. Red Jim 
pokes White Jim in the ribs. White Jim looks sullen 
and leaves the table. Iris out. 

Interior. Boys’ small bedroom. 

White Jim slips out of bed and puts on the red shirt, 
again sneaks into the bed, squeezes himself between 
Red Jim and the wall. Red Jim does not awaken, 
but simply rolls over. Jane enters and cautiously 
looks at them. She raises the blanket and sees the 
red shirt. She then tells them to get up, and she 
leaves the room. Red Jim raises up, stretches, rubs 
his eyes, looks with surprise at White Jim in his place, 
bounds out of bed, and looks for his red shirt. Not 
finding it, he snatches the blanket off the bed, and 
points at his shirt on White Jim, crying: 

“You thief, get out and take off my shirt!” 

White Jim only reaches for the blankets and covers 
himself,—head and all. Red Jim puts on the white 
shirt, and leaves the room. Jane comes to the room, 
looks in, comes to the bed, turns down the blanket, 
asking: 

“Why, Red, did you sleep in your shirt last night?” 

White Jim looks foolish, then replies: 

“Uh, hu. It’s so cold, I was afraid White ’u’d git 
up early an’ put it on an’ make me go to th’ store, 
an’ put one over on me.” 

Jane looks sharply at him and leaves the room. 
White Jim gets up, puts on his clothes, and passes 
out. 

Interior. Kitchen of Roscoe home. 

White Jim comes in with Red’s shirt on. Jane gives 
him a basin of cold water, and makes him wash his 
face and hands, saying: 



PHOTOPLAYS 


267 


Cut in 

Scene 15 

Scene 16 

Cut in 

Cut in 

Sub-titee 

Leader 

Scene 17 
Cut in 


“Now you run out in the yard and put all that wood 
in the wood-shed, then you can eat your breakfast 
with your brother.” 

Exterior. Back yard, with pile of snow-covered 
wood. 

White Jim stands over the woodpile. He looks 
disgustedly at the kitchen door, plucks angrily at the 
red shirt beneath his coat, and savagely begins to toss 
the wood. Kitchen door opens, and Red comes out 
and stands upon steps and laughs. Diaphragm down. 

Interior. Same as Scene 14. 

John and Jane looking out at the boys from the 
window. John looks at Jane questioningly. Jane 
speaks 

“You see, I’m going to watch the red shirt. When 
I catch White Jim putting one over on Red, I’ll have 
a little meaner task for White.” 

John laughs, saying: 

“That's bully! Let’s see how it works. I’ll admit 
White hatches more deviltry than Red, but Red is 
game not to squeal. Iris out 

EPISODE FOUR—AGE TWENTY-ONE 

It was Sunday,—the day on which the twins 
went sparking. They were paying their atten¬ 
tion to Susie and Betty Dana, but both were a 

EITTEE SWEETER ON SUSIE, AND SUSIE WAS SWEETEST 
ON THE RED SHIRT, WHICH SIGNIFIED RED JlM. 

Interior. Same as Scene 14. 

Jane in. Red Jim enters, saying: 

“Maw where is my clean Sunday shirt? I can’t 
find it anywhere.” 

Red enters, hears what White has said, grins, and 
says: 

“Maw, may I go out with Susie to-day?” 

Jane looks surprised, and says: 


Cut in 



268 


PHOTOPLAYS 


Cut in 

Scene: 18 

Scene 19 

Scene 20 

Cut in 

Cut in 

Scene 21 

Cut in 


“Why, to be sure you may, Red.” 

Red passes out door of house. Cut to 

Exterior. Village street, with Roscoe house in. 

Red sees a buggy coming down the street and hides 
in the shrubbery. White Jim is driving the buggy, 
and stops before reaching the gate. He runs to the 
gate, enters, and passes into the house. Red Jim 
rushes out the gate and to the buggy and bounds in, 
turns the horse about, and drives furiously away. 

Exterior. Front of Dana Cottage. 

Susie is standing at the gate. As Red drives up 
she bounds into the buggy and they drive away. Cut 
T o 

Exterior. Same as Scene 18. 

White Jim coming out of his house. Looks toward 
where he had left the buggy. Sees it is gone. He 
runs to the street, looks up and down, and returns to 
the house. His mother is standing on the porch. He, 
in Red Jim’s shirt, speaks: 

“Where’s White, Maw?” 

His mother looks at him laughingly, and answers: 

“I don’t know. He went out only a few minutes 
ago.” 

White Jim shakes his head and pounds his fat fist 
in his palm. He looks up and down the street, then 
walks away. 

Exterior. Same as Scene 19. 

Betty Dana standing at her gate. White walks 
slowly to her. Betty asks: 

“Why, where’s Susie, Red?” 

White pushes at the top of the gate post, looks 
sulky, says: 

“Susie? Why, White stole both Susie and the 
buggy. I’m goin’ to have him pinched for horse steal- 
in’ and kidnappin’.” 


Cut in 



PHOTOPLAYS 


269 


Cut in 


Cut in 

Sub-title 

Leader 

Scene 20 

Cut in 

Cut in 

Cut in 


Betty looks at him in surprise and questions him 
with: 

“Well, y’u see, I drove home and went in to put on 
my Sunday shirt. Maw hung my shirt out on the 
line and durned if White didn’t grab it and beat me to 
the buggy.” 

Betty laughs uproarously, opens the gate and pulls 
him in, saying: 

“Come in, poor White! You can fool ’em all but 

__ >> 

me. 

Betty and White enter the house. 

Some Weeks Later 

Love, to attain or depend its object, will com¬ 
mit CRIME as QUICKLY as HATE,—THE DEGREE DE¬ 
PENDING WHOLLY UPON ITS URGENCY. 

Exterior. Village Street. 

Mike Murphy, a town bum coming down street 
staggering drunk. Meets White Jim, who stops him. 
White Jim speaks 

“Whoa! Mike. You’re overloaded.” 

Mike waves his arms and cuts drunken capers. He 
holds in his hand an empty moonshine bottle, sings: 

“Nothin’ doin’. Empty is the bottle, Boozie’s gone.” 

White leads Mike to an empty lot, and they sit 
down upon a pile of boards. Speaks 

“Say, Mike, tell me where you get this stuff. I 
want some myself.” 

Mike pretends to slap him away with his hand, 
speaks 

“G’w’an y’u’re kiddin. Y’u’ll have ’em pulled.” 

They earnestly talk, and Miks nods his head. They 
arise. White takes Mike’s arm and the empty bottle, 


Cut in 



2J0 


PHOTOPLAYS 


Cut in 

Cut in 

Scene 21 
Close up 

Cut in 

Scene 22 

Cut in 


and together they go rolling down the street toward 
White’s house. Red is standing at the gate and look¬ 
ing at them in amazement. They come lolling up to 
Red and begin to muss him up. Red speaks 

“White! What does this mean? Where did you 
get that poison?” 

White chucks Mike with his elbow, and winks. 
Then he places his finger upon his lips and looks 
cautiously about, saying: 

“She-eh we’re makin’ it up in th’ mount’ns.” 

Before Red can recover from his surprise, Mike 
and White roll off down the street. At a point down 
the street White stands and talks with Mike then goes 
quickly away, as Diaphragm closes. 

Exterior. Same as Scene 8 . 

John and Red Jim sitting on porch in earnest con¬ 
versation, Red speaks 

“For a week he has slipped away every day, and 
comes home smelling like a distillery. He’ll get caught, 
sure.” 

John looks deeply concerned. They converse for a 
while then leave the house. Out and into 

Interior. Sheriff’s office. 

Sheriff sitting with his feet upon desk, asleep. Enter 
John and Red. Sheriff hastily straightens himself up 
and greets them. They sit and earnestly converse. 
The Sheriff knocks the ashes out of his pipe, loads 
and lights it, then says: 

“Now, see here, John. This town don’t want no 
bad repertation. And you’all don’t want y’r boy to 
get mixed up. with them fed’rl officers, nuther. ’F 
we kin scare th’ tar out’n White he’ll quit an’ we’ll 
break it up.” 

Both John and Red nod approval. John speaks 



PHOTOPLAYS 


271 


Cut in 


Cut in 


Insert 

Letter 


Scene 23 


Scene 24 


“What do you suggest, Tony?” 

The Sheriff straightens himself up in his chair, 
spits, leans toward them and measures off his words 
with his fiingers in his palm, as he speaks 

“We must’nt do anything official, see? I’ll deputize 
Red, there, to carry a letter to White and catch him 
up thar. That’ll scare him. Red can carry my gun 
and handcuffs f’r a bluff,—see?—like he’s goin’ to 
bring him in.” 

John and Red approve. The Sheriff turns to his 
desk and writes letter and hands it to John to read. 

To White Jim Roscoe, 

Mountain Moonshiner, 

Dear Sir: 

You will report forthwith to my office.. I am sendin this by 
yer brother for the sake of your family. 

Tony Mix. 

Sherife. 

John and Red speak with each other, and Red nods. 
The Sheriff reaches upon the wall, takes down a pistol 
and buckles the belt about Red’s body. He opens 
drawer, takes out a pair of handcuffs, hands them to 
Red, who slips them into his pocket. They all pass 
out of the back door of the Sheriff’s office as Dia¬ 
phragm goes DOWN. 

Exterior. Narrow, rough mountain trail. 

Red on horseback, picking his way slowly up into the 
gulch. He reaches a point where the trail forks and 
pauses. Two masked men confront him with pointed! 
shot-guns. They order him to dismount. They take 
his pistol and handcuffs away from him and find in 
his pocket the Sheriff’s letter. They direct him to 
lead his horse and go forward. 

Exterior. A point on trail; a small shack in fore¬ 
ground. 

White is standing in the door, apparently sullen 
drunk. He comes out into the open and the men hand 



2?2 


PHOTOPLAYS 


him the Sheriff’s note. He reads it, looks sullenly at 
Red, makes an ugly face, shrugs his shoulders and 
addresses Red with 

Cut in “Like hell, I will! Why didn’t the Sheriff come 

after me?” 

Red drops the bridle rein and comes close to White, 
saying: 

Cut in “Are you going to come without trouble?” 

White looks at Red in surprise, and before Red can 
guess what he is going to do, White grabs his red shirt, 
and pulls it half over his head. Red takes his two 
hands full of White’s shirt and strips it from his body, 
leaving only the sleeves and tatters hanging upon him. 
Red breaks away from White, but White takes a hand¬ 
ful of red shirt with him. The other two men look on 
with laughter. The fat boys are now mad and they 
go at it, hammer and tongs, first one is on top, and 
then the other. They pommel each other, tear each 
other’s hair and roll each other about till, both ex¬ 
hausted, they can only lie and glare at each other. The 
other two men consult, then attempt to separate them. 
Both Jims have black eyes, bloody noses, and touseled 
hair, and they are both shirtless. They sit up and 
glare at each other. The other men gather up the 
scraps of shirt and place one red sleeve and one white 
sleeve upon each; they then tie half each of the red 
and white strips about their bodies, and while one 
stands by, the other goes to the rear of the shack and 
brings three horses. They compel the two brothers to 
mount, then they handcuff them together as a team, 
and all ride out of the gulch. The two men draw off 
their masks and cast them into the bushes, revealing 
the brother of Susie and Betty, and Mike Murphy. 

Scene: 24 Exterior. Main Street of Cedarville. 

Despite the protests of the two Jims, they are led 
through the heart of Cedarville, past Taylor’s store 
where all the loafers are standing, laughing uproarious¬ 
ly, and to the Sheriff’s office where they stopped. John, 



PHOTOPLAYS 


273 


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Cut in 

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Scene 


who had seen them coming down the street, comes 
running to the Sheriff’s office. Upon seeing their plight 
John bursts into hilarious laughter. Sheriff Mix looks 
at them in amazement. Half the town now surrounds 
them. Some of the town women stand looking an¬ 
xiously at the silent masses, sitting like statues upon 
their horses. Bob Dana speaks 

“Sheriff, we found them in a bear fight up the road. 

The bear got away.” 

The Sheriff looks puzzled. The crowd begins to titter, 
shouting 

“How did they get their shirts mixed ?” 

Everybody laughs. Bob Dana explains: 

“Oh, that’s blood.” 

Everybody roaring with laughter. John asks: 

“Why are they handcuffed together?” 

The crowd jostles to look at the handcuffed wrists. 
Bob replies: 

“Well, Murphy got tired holding them on their 
horses, so we handcuffed ’em so they could embrace 
each other.” 

Even White Jim and Red Jim grin. With the aid 
of bystanders they are helped to the ground. They 
stand looking at each other, grin, and shake hands. 
Then, locking arms, they walk away together the crowd 
standing laughing and joking about them. 

25 Exterior. Another part of street. 

As the two Jims come near home they meet their 
mother and Susie Dana. Susie rushes to them. First 
seeing White with a part of the red shirt on she rushes 
to him and leans against his arm. Red shakes a hand¬ 
ful of red shirt at them, saying: 

“Don’t go near that brute, Susie, he stole half my 
shirt.” 


Cut in 



274 


PHOTOPLAYS 


Cut in 


Scene 26 


Scene 27 

Scene 28 


Cut in 


Leader 
Scene 29 


Cut in 


White places his arm about Susie, and speaks 

“Pay no attention to him, Susie, he’s drunk. I just 
brought him down out of the mountains.” 

White leans down close to Susie and whispers to 
her. Susie nods and runs away. White laughs and 
waves his hand after her. Fade out. 

Interior. Same as Scene 14. 

Red has moved quietly on and hurries into the kit¬ 
chen and cleans up. Before White is through wash¬ 
ing, Red is dressed and slips out of the house. 

Interior. Minister’s house. 

Red, Susie, Minister, and witnesses in. Susie and 
Red being married. Fade out. 

Exterior. Street in front of Taylor’s store. 

Susie and Red, just married, meet White. Red 
laughs and shows White Susie’s hand with the wedd¬ 
ing ring on it. Red speaks 

“Too late, you fat lobster. You can steal my shirt, 
but you can’t steal my girl. We’re going to live at 
home, and you’ll have to find another roost. Go home 
and take off my shirt.” 

White looks sorrowfully at Susie. Then he shakes 
hands with both of them, and walks away. On the 
street he meets Betty Dana. 

A Hade an Hour Later 

Interior. Same as Scene 27. 

White and Betty Dana enter and make known their 
desire to be wedded. The clergyman looks amazed, 
speaks 

“But I married you only an hour ago.” 

They explain and they, too, are married. White 
speaks 

“Now, duck, Betty. Mother has always said that, 
the first one bringing a wife home should live with 
her. You heard what that brother of mine said.” 


Cut in 



Scene 30 


Cut in 


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PHOTOPLAYS 275 


Exterior. Same as Scene 8 . 

John, Jane, White and Betty seated. Jane and 
Betty are sewing. White has on a white shirt and 
slippers. Arrive Red and Susie with packages. They 
look surprised as they come onto the porch. White 
arises and greets them. White speaks 

‘Tm so glad to have you call so soon. Allow me 
to present my wife.” 

Betty arises and meets Susie, who stands staring 
with eyes and mouth open. Then White asks: 

“Where are you living now, Red? We shall return 
your call soon. 

John and Jane standing, laughing. White standing 
with his arms about Betty. Red and Susie going out 
of the gate with their bundles. White calls after 
them: 

“Wait a moment, Red.” 

He rushes into the house and comes out with a red 
shirt in his hand, saying: 

“Here’s your Sunday shirt; I won’t need it any 
more.” 

He hands red shirt to Red as Diaphragm goes 

DOWN AND OUT. 






THE COPPER QUEEN 




































* 














































































































































































































PRINCIPAL CAST 


Jed Tanner .Pioneer Westerner: Second Male 

Lead 

Mandy Tanner .) Jed's Wife 

Amanda Toeeiver . \ The Copper Queen: Female Lead 

Betty Tanner .Ingenue Lead 

Robert Beeden .First Male Lead 

Coeonee MaxwEEE .First Heavy, or Scoundrel 

Dae McPherson .Second Heavy, or Villan 

Oed Jake Toeeiver .Mandy’s Drunken Father 

Chin Fu .Maxwell’s Chinese Cook 

Dave .Mail Carrier 

Mr. Coeby .Tenderfoot Mine Owner 

Arthur Coeby. ) c , ,, n 1U 

Barry Colby .} Sons of Mr ' Colb y 

Marvin Tanner .Jed Tanner’s Brother 

Mrs. Marvin Tanner .His Wife 

Mr. Porter .Bob’s Friend 

Dance-hall Crowds, etc., etc. 


SYNOPSIS 

Jed and Mandy Tanner are of the Western pioneer type. They 
have a small placer, near their squatting place, which is named Red 
Bluff,—a crude resting-place for occasional travellers. He has a 
postoffice, of which he is the postmaster; he keeps a small stock of 
general merchandise, and has a sign across the front of his building, 
“Tanner House.” Jed, his wife Mandy, and their daughter Betty 
are the sole population of Red Bluff, with the exception that nearby 
is a small mill for reducing ore, and a little red brick building oc¬ 
cupied by one Colonel Maxwell, his alleged mining engineer, Robert 
Bel den, and his Chinese cook, Chin Fu. 

There exists a deadly feud between the two sections of Red Bluff: 
Jed had warned the Colonel that he will shoot anyone crossing 
a dead line which he has established. Jed spends most of his time 
up in Cherry Valley, where his placer mine is located, and Mandy 
and Betty are left alone. They are both utterly illiterate. 


279 


















28 o 


PHOTOPLAYS 


Young Belden is a new arrival and does not appreciate the dan¬ 
ger of calling on Mandy. She runs him away at the point of a 
pistol. He is struck with the beauty of Betty, and determines to 
see her again. He sends an apologetic note to Betty by Chin Fu. 
Mandy fills Chin Fu’s trousers full of shot, but Betty gets the note. 

Dave, the mail carrier, from Livingston, Montana, arrives with 
the occasional mail. He always brings magazines to Betty. On a 
certain trip he brings a letter for Jed Tanner from Mr. Colby, who 
is backing Colonel Maxwell financially in a fake mine. Colby re¬ 
quests that he, his wife, and two sons spend a time at the Tanner 
House. 

Betty is a beautiful little wild animal, but almost illiterate. She 
takes to movie and theatrical stories and characters. She selects 
a picturesque spot up in the gulch back of the Tanner House as a 
play place, to which she goes alone, dances, sings, and plays her 
conceptions of what she reads. She paddles her naked feet in the big 
pool of water, drapes her clothing, and does many cute things be¬ 
coming an ingenue. Bob goes up into the gulch and discovers her, 
and becomes greatly enamored- He has brought to the West with 
him (upon graduating from Yale) his boxing gloves, also a blue 
velvet carnival suit, and the mandolin of a strolling musician. 

Betty has never seen a half-dozen young men in her life, and she 
i ever has heard a note of music. She always appeals to her “Prince 
o’ the Blue,” an imaginary person hidden upon the highest moun¬ 
tain peak. She pleads for him to come down to her. Robert 
conceives the idea of impersonating this Prince and surprising 
Betty. He puts on the costume, takes his mandolin, and secretes 
himself near Betty’s playground. When she calls upon her prince, 
Bob plays upon his mandolin and sings and comes down the moun¬ 
tain side toward Betty, whereupon an interesting scene ensues, 
with splendid opportunity for some good acting. 

On his way to meet Betty one day Bob secretly observes a 
stranger approaching the Tanner House,—his actions indicating a 
hostile purpose. Bob follows the stranger, arriving in time to catch 
him in a death struggle with Mandy. He was choking her, when 
Bob rescues her. A terrific fight ensues. The stranger is badly 
worsted until he gets his hand on a cheese knife and is ready to 
kill Bob, when Betty strikes the stranger with a pick-handle. He 
is then beaten, disarmed and driven away. 

Mandy is grateful to Bob, raises the ban against his coming to 



PHOTOPLAYS 


281 


the house, but asks him to leave her and Betty alone,—she has 
something to tell Betty: 

She was Amandy Tolliver, living in a rough mining town, Cook 
City, Wyoming. Her old father. Jake Tolliver, was a common 
town drunk. He sold her to one Dal McPherson, who ran a dance 
hall and saloon there. On the opening night, Jake was to deliver 
her to McPherson. One night young Jed Tanner and two compan¬ 
ions enter the place and are introduced to McPherson. As they con¬ 
verse, old Tolliver, drunk, dashes open the door and drags Amanda 
into the crowded saloon. Jed Tanner and McPherson rush to the 
door, where the old man is cursing and abusing Amanda. Jed 
recognizes Amanda and attempts to protect her, knocking her 
father through the saloon door and into the street. McPherson 
interferes, saying he has a contract for the girl’s service. Jed 
asks her age. She is eighteen. They have an argument. Jed 
tears up the contract and McPherson attempts to draw, but is 
covered by Jed’s men. They take Amanda, procure a horse for her, 
and they conduct her to Bozeman, Montana, where Jed leaves her 
in the care of his mother. McPherson and Tolliver discover her 
refuge, and steal her away. McPherson sells out at Cook City, 
and goes to the mining town Idaho City, Idaho, taking Amanda 
with him. He holds her a slave, moving from one camp to another, 
for twelve years. Amanda develops into a beautiful woman and an 
attractive dancer, which makes her extremely profitable. Jed Tan¬ 
ner, in the meanwhile, becomes a Wyoming sheriff, the terror to 
evil-doers. He learns that McPherson has opened the Blue Bell 
Cafe, at Butte, Montana, with the bronze-haired Amanda as his 
chief attraction, billing her as the “Copper Queen.” He goes to 
Butte alone to rescue Amanda. Interesting things occur in the 
Blue Bell Cafe, which he practically holds up. He drops McPher¬ 
son on the road afoot, and proceeds with Amanda to Logan, 
Montana, where they are married. Jed takes his bride to the spot 
which he names Red Bluff, and a year later Betty is born. Mc¬ 
Pherson has learned the truth and sends word to Mandy Tanner 
that, when Betty is eighteen years old he is coming after her. 

The fight in which Bob gave him a beating is the fulfillment of 
this promised visit. 

The Colbys come,—Mr. and Mrs. Colby and two sons just 
graduated from college. Bob has now been Betty’s tutor for 
several weeks, greatly improving her English. He has safely won 
her affection. 



282 


PHOTOPLAYS 


Jealousy as once springs up between him and the wild-eyed 
Colby boys, with numerous interesting scenes. Bob and Arthur 
fight three rounds with boxing gloves, both being expert boxers. 
Bob puts Arthur out. Mr. Colby has a quarrel with Colonel Max¬ 
well. Bob also gives the Colonel a beating, and exposes his rascal¬ 
ity. He also attempts to drown Chin Fu in the flume. The Colonel 
attempts to blow up the mine, with Mr. Colby and Bob in the 
tunnel, but they catch him red-handed. 

Mandy secretly sends Betty away and will not tell Bob where 
she is. Five years pass by. She intercepts Betty’s letters. Then 
Mandy Tanner dies. 

Jed Tanner sells his placer and goes to Los Angeles, where his 
brother Mervin Tanner resides. 

They have been educating Betty, giving her a musical education, 
with a three years’ finishing course in Europe. Bob Belden has 
become a great oil engineering expert in the Government employ. 
Arthur Colby is a lawyer. Both are sent to Los Angeles on Busi¬ 
ness. Mr. Preston, Bob’s friend, invites them to go> to the opera 
to hear a beautiful young Los Angeles woman sing. Bob is over¬ 
joyed to discover it is Betty, and at once makes himself solid. 

Usual happy culmination. 



PHOTOPLAYS 


283 


Leader 


Sub-title 
Scene i 


Scene 2 


CONTINUITY 

Out there in the mountain wilds in the pion¬ 
eer DAYS, WHEN LIRE WAS JUST ONE TRAGEDY AFTER 
ANOTHER, MEN WERE ROUGH AND BRUTAL FROM NEC¬ 
ESSITY, AND WOMEN WERE AT THEIR MERCY. 

From the vantage Point of civilization, we 

VIEW THAT STRENUOUS PERIOD WITH BOTH AWE AND 
ADMIRATION, FOR IT LAID THE FOUNDATIONS OF THE 
MIGHTY West, AND BLAZED the highway INTO 
wonderlands. 

Jed and Mandy Tanner are typical characters 

OF THAT PERIOD. 

Red Bluff, Montana, is a postoffice, but not 
a town. It is the home of Jed and Mandy Tan¬ 
ner. 

The "Tanner House" is a resting-place for 
occasional travelers. 

Nearby is the property of a small mining out¬ 
fit. 


Red Bluff 

Exterior. Deep valley—mountains rising high on 
all sides- In small triangular flat are the Tanner 
structures,—a double building—one side marked 
"Store" and the other "Tanner House." A platform 
extends full front of building. In rear are a stable, 
a smithy, a corral for animals, and a truck garden. 
Fronting the main building, and across the road, 
which is both street and public highway, is a small 
structure labeled: "Post Office—Jed Tanner, Post 
Master." Beyond the Post-Office, a sudden drop in 
the ground conceals all but the roofs of a small mill 
and a cottage. 

Interior. Kitchen of Tanner House- Usual out¬ 
fit. 

Mandy Tanner and her seventeen-year-old daughter, 
Betty, washing dishes. Mandy, a hard-visaged, West- 



284 


PHOTOPLAYS 


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Cut in 


Cut in 


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ern woman of pioneer type, alert and keen of eye, 
supple of body, and about fifty years of age, hair red¬ 
dish gray. Betty, plump and rosy, of medium height, 
robust, healthy, and quick of motion, like her mother. 
Two heavy plaits of bronze-red hair hang over her 
shoulders. She is seventeen. Betty is just a beautiful, 
sleek, wild animal. Both women are dressed in clean, 
well-fitting gingham house dresses. On the wall of 
the kitchen hang Mandy’s pistol and cartridge belt. 
Mandy is washing the dishes, and Betty is drying them 
and placing them in a china-closet on the wall. The 
two appear to be in cordial good humor. Betty 
speaks 

“Maw, if I wus edikated, I’d go on th’ stage.” 

Mandy pauses and looks at Betty in surprise, begins 
her work again, turns toward the kitchen stove, looks 
over her shoulder, and suddenly turns about with her 
elbow akimbo, speaks 

“Huh! Why, Betty, if th’ schoolhouse war right 
on t’other side o ’th’ road, y’u c’u’ln’t fin’ y’u 
way tu it. God nev’r ’tended y’u tu have a ederkashun, 
child. But why du y’u say that?” 

Betty is standing with her back toward her mother. 
She turns a serious face toward her mother, saying: 

“I’ve been feelin’ th’ ’spiration a-comin’ on me a 

long time.” 

Betty reaches high up to place a dish in the china- 
closet. Her mother looks at her with pitying eyes; 
shakes her head; wipes her mouth on her apron; 
comes around the table to where Betty is standing, 
places he rtwo hands on her shoulders, speaks 

“Betty, I do’no what y’u mean, but I want tu warn 
y’u, if y’u don’t quit squallin’ y’u lungs out up thar 
in th’ gulch som’thin’ll git y’u some day.” 

Betty looks at her mother in mock astonishment, 
a mischievious smile plays about her face, speaks 



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Leader 


PHOTOPLAYS 285 


“Why, Maw, y’u s’prise me! Y’u shorely don’t ’pre¬ 
date gran’ opera. I’m a-singin, I ain’t squawkin’. Y’u 
hain’t a mus’d min’.” 

Betty stands fronting her mother with a bantering 
smile. Mandy assumes an attitude of good-natured 
resentment, arms akimbo, and head tossed high. 
Mandy speaks 

“Y’u nev’r hearn a note o’ music in y’u hul life. 
Y’u might think differ’nt if y’u jes know’d wat my 
’sper’nce wuz on th’ stage.” 

Mandy suddenly turns away, and gets very busy 
about the stove. Betty’s face becomes very serious 
and registers earnest surprise. She cocks her head 
on one side, rests her hand on the corner of the table 
for a moment, then slowly goes to her mother and in¬ 
sists upon seeing her face. Mandy stands up stiff and 
straight, and looks down upon Betty, who says: 

“Y’u on the stage, Maw? Do tell! Why, I nev’r 
afore hearn o’ y’u bein’ on no stage.” 

Mandy puckers up her mouth, pushes a piece of 
wood into the stove chuckles, then speaks 

“Why shore I wuz on th’ stage, a-comin’ up frum 
Livin’ston.” 

Betty makes a motion of impatience, picks up a 
dish, and hastens to put it in the china-closet. 
Speaks 

“Go on, Maw,—quit y’u foolin!” 

They both pass into an adjoining room. 

Red Bluff is located on the fringe of paradise, 
snow-clad in winter and rose-clad in summer, 

AND EVER CARESSED BY THE GENTLE CHINOOK WINDS. 

Life wells from the rock-ribbed valley like 

FRESH, SWEET WATER FROM A VIRGIN SPRING. ITS 
OZONE-TEMPERED ATMOSPHERE MAKES THE TENDER¬ 
FOOT DRUNK WITH A NEW AND STRANGE DESIRE. 



286 


PHOTOPLAYS 


Introduction 


Bob Beuden 


Scene 3 


Scene 4 


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Interior. Bob’s cottage bedroom. 

Bob, a handsome young man with serious face and 
of strong athletic person,—the newly arrived engineer, 
down at the mill, which is a part of the questionable 
outfit of one Colonel Maxwell, whe “represents” a 
Philadelphia capitalist, is in his little room at the cott¬ 
age, primping up before starting on an inspection tour 
of Red Bluff. He passes out of his room. 

Interior. Office of Colonel Maxwell. 

Colonel Maxwell pompous, puffy, vain, self-import¬ 
ant, is seated at his desk, writing. Bob enters. The 
Colonel looks up from his work, leans back in his chair 
and eyes Bob critically, speaks 

“Why the dolling up? Going out calling?” 

Bob looks down at his clothes, raises himself up in 
mock importance, places his left hand upon his hip, 
pretends to pinch a mustache,—which he has not,— 
speaks 

“I’m going to present my credentials to Madame 
Tanner.” 

The Colonel whirls his swivel chair around and faces 
Bob, with anger in his face, and fiercely punctuates his 
remarks by pounding the desk, saying: 

“Look here, young man, I’m not going to be respon¬ 
sible for your safety, if you go prowling beyond that 
road up there, which is Jed Tanner’s dead-line. He 
has sworn he will shoot anyone from this place who 
crosses it and, you take my word, he’ll do it, too.” 

Bob spreads out his hands, saying; 

“I’m not interested in Jed Tanner. I want to take 
a look at Mandy.” 

The Colonel makes a motion of disgust, rises, places 
his hands behind his back, and paces across the floor. 
Turning quickly, he looks sullenly at Bob, saying: 



PHOTOPLAYS 


287 


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Scene 5 


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“I am more afraid of Mandy than I am of Jed, 

I guess, though its the girl you are interested in. God 
help you if Mandy catches you fooling around her.” 

Bob is gaping wide-mouthed at the Colonel. He 
suddenly becomes more serious, as he says: 

“A girl! What is she like? I never knew they had 
a daughter. I guess, yes, I’ll go look her over.” 

The Colonel makes a grimace, wags his head, and 
goes to his desk. Bob passes out of the cottage. The 
moment he closes the door, the Colonel quickly arises, 
puts on his hat as thoughl going out also . He changes 
his mind, passes to a window, and watches Bob out of 
sight in the direction of the Tanner House. 

Exterior. Tanner House. 

Bob trudges up the path and sees Mandy Tanner and 
Betty standing near the Post Office, shooting at a small 
piece of paper attached to a post some forty feet away. 
He observes that every shjot goes straight to the mark. 
He approaches them. Betty calls her mother’s atten¬ 
tion to him and bashfully steps behind Mandy. 
Mandy turns quickly, with her pistol ready for action. 
Bob laughingly takes off his hat and holds his hands 
high above his head. He speaks 

“Good morning, Mrs* Tanner.” 

Mandy returns: 

“Who mought y’u be ?” 

Bob bows and smiles, replying: 

“Pm the new mining engineer for Colonel Maxwell.” 

Mandy assumes a savage aspect, approaches Bob, 
with her pistol pointing directly at him. Betty’s actions 
indicate to Bob that his life is in danger. Bob straigh- 
ens up and looks serious. Mandy speaks 

“So y’r a part o’ that swindlin’ outfit? What du 
y’u want?” 



288 


PHOTOPLAYS 


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Scene 6 


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Bob slowly retreats, still holding his hands above 
his head, his face showing genuine alarm, as he replies: 

“Nothing.” 

Mandy shakes her pistol and points toward the mill, 
speaks 

“Then, git!” 

Bob does not wait for a second invitation, but “gits”. 

Interior- Same as Scene 4. 

The Colonel is watching him through the window. 
As he observes Bob’s haste, he laughs heartily, takes 
off his hat, seats himself at his desk, and appears to be 
absorbed. Bob enters. The Colonel looks up inquir¬ 
ingly. Bob looks cautiously at the Colonel; lights a 
cigarette; casts away the match; puffs a cloud of 
smoke up into the air; places his right elbow into his 
left hand; spreads his feet wide apart, and rocks back 
and forth, looking quizzically at the Colonel, the Col¬ 
onel bursts into uproarious laughter, and says; 

“Well what do you think of Mandy?” 

Bob knocks the ashes from his cigarette, looks at 
the end of it, and replies: 

“Mandy? Oh, she’s a hell-cat, but that doesn’t 
count.” 

The Colonel leans forward with his hands upon his 
desk, looks savagely at Bob, asks: 

“What do you mean by ‘she doesn’t count’?” 

Bob throws his leg over the corner of the desk, 
looks down at the Colonel, and speaks 

“I saw the most beautiful wild animal in all the 
world.” 

The Colonel starts in surprise, asks: 

“Wild animal! Where?” 



PHOTOPLAYS 


289 


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Insert 

note 


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Scene 7 


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Bob swings his foot and waves his hand toward the 
Tanner House, answering: 

“Up there with Mandy.” 

The Colonel arises and indignantly points his finger 
in Bib’s face, speaks 

“Now, I warn you to leave that girl Betty Tanner 
alone, or I’ll be sending your carcass home to your 
father.” 

The Colonel seizes his hat and leaves the room. Bob 
remains as he is, wagging his foot and thoughtfully 
blowing out long streamers of smoke. At length he 
seats himself at the Colonel’s desk, and writes note. 

Miss Betfy Tanner, 

I desire to apologize for my intrusion. I did not know there 
was ill feeling between your parents and Colonel Maxwell. 

Respectfully, 

Robert Beeden. 

Bob calls Chin Fu, the Colonel’s Chinese cook: 

“Chin Fu.” 

Chin Fu enters and bows. Bob taps the table with 
the note while giving the servant instructions about 
delivering it. Chin Fu leaves room with note. Bob 
removes his coat, rolls up his sleeves, and begins to 
examine some ore samples. Colonel Maxwell enters, 
and they both look at the specimens. Suddenly they 
both register alarm and rush toward the window. 
Iris out. 

Exterior. Road, and front of Post Office. 

Chin Fu trudging up path toward Post Office. As 
he reaches the corner of the building Betty comes 
out of the door. Chin Fu hands her the note, and says: 

“Misha Blob, he sen.” 

Betty slips note in the pocket of her dress as Mandy 
comes to door and see Chin Fu. Mandy speaks 

“Well, y’u rat-eatin’ varment, y’u!” 



290 


PHOTOPLAYS 


Scene 8 

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Scene 9 

Leader 


She rushes back into the room and comes out again 
with a shot-gun which she discharges at Chin Fu as 
he runs down the path. Chin Fu claps his hands on 
the seat of his trousers and leaps into the air. Mandy 
fire again and again; Chin Fu bounds into the air, 
holding his hands on his seat, and running frantically 
toward the cottage. 

Mandy holds the shot-gun under her right arm and 
shakes her fist at the fleeing Chinaman. Iris out. 

Interior. Same as Scene 4. 

Colonel Maxwell and Bob in. Chin Fu rushes in, 
falls upon the floor, screaming: 

“Me shloot um! Me shloot um dead! Oh! Oh!” 

The Colonel looks down upon the writhing Chin Fu 
and looks inquiringly at Bob, Colonel speaks 

“I sent a note of apology to Betty Tanner.” 

The Colonel makes a grimace of disgust, saying: 

“You go pick the lead out of the Chink. It’s 
your doings.” 

Exterior. Colonel’s mill and cottage, and Tanner 
buildings. 

The Colonel goes over to the mill, and Bob carries 
the Chinaman up and throws him into the flume, souses 
him, and throws him down like a drowned rat. Chin 
Fu arises and describes to Bob his experience. Man¬ 
dy and Betty walking toward the Tanner House. 
Mandy enters. Betty passes around the corner and 
laboriously reads Bob’s note, then she presses it to 
her bosom and again conceals it. Iris out. 

Fate conjurs strange methods for casting her 
net about those whom she would make or break. 
In the pure and untamed Betty she discovers the 

VIRGIN MATERIAL AND LATENT TALENT FOR A GREAT 
WORK, AND SHE SAFELY GUIDES HER ALONG THE MYSTIC 
PATHS THAT LEAD HER TO INTRANSIC LOVE, FAME, AND 

fortune. Betty had never heard a musical note 



PHOTOPLAYS 


291 


Scene 10 

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Scene 11 

Leader 

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EXCEPT PROM THE EURE OF NATURE. AeE SHE KNEW 
OF THE OUTSIDE WORED SHE HAD GEEANED FROM PIC¬ 
TURES WHICH SHE FOUND IN THE STORY MAGAZINES 
FATE SENT TO THE TaNNER HOUSE. 

Interior. Tanner House dining room. 

Betty sweeping. Mandy standing in kitchen door 
wiping a dish and talking to Betty. Voice from with¬ 
out speaks 

“Hoo-hoo!” 

Betty leaves her broom in the corner and responds: 

“Hoo-hoo! It’s Dave.” 

Rush)es out. 

Exterior. Post Office, Tanner House. 

Betty, in an ecstasy, rushes from the front door and 
to the platform, where she greets Dave, who is riding. 

Dave, the maie-carrier. 

Dave dismounts from his horse and lifts his mail 
pouch off his saddle as Betty comes to the door. He 
speaks 

“Hello, Betty 1 ” 

Betty speaks 

“Hello, Dave.” 

Mandy appears at the door, wiping her hands on 
her apron. Dave speaks 

“Howdy, Handy/’ 

Mandy greets him with 

“Howdy, Dave, y’r a day late; seems like a week.” 

Dhve knocks the dust from his clothes. Suddenly 
he straightens up and looks at Betty, speaks 

“Gol dern, Betty, but you’re gettin’ purtier every 
day. Elf I warn’t so old and hadn’t a wife and five 
kids, demed if I w’dn’t marry ye.” 



292 


PHOTOPLAYS 


Scene 12 
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Mandy laughs, and Betty snuggles up under Dave’s 
arm, as he picks up his mail pouch and all three 
enter the house. 

Interior- Same as Scene 10. 

Enter Dave, Betty, and Mandy. Dave speaks 

“Come all th’ way up from Sprague’s ranch to 
bring y’u one letter, Mandy. Ain’t thet worth a cup 
o’ hot coffee?” 

Mandy answers: 

“I’ve got somethin’ bet’rn that, Dave” 

Mandy passes back into the kitchen. Betty helps 
Dave empty his bag. He speaks 

“Them’s f’r y’u, honey.” 

Dave hands a number of magazines to Betty, who 
hugs them to her bosom in delight. Mandy’s voice, 
without, speaks 

“Be-t-t-ta!” 

Betty bounds away, enters the kitchen, and returns 
with a big coffee-pot and cup, which she places upon 
the table and pours coffee for Dave. Mandy enters 
with another tea cup, stirring it with a spoon, places 
it in front of Dave. She speaks 

“There, Dave; That hot Scotch ’ill run th’ bugs 
out’n y’r system.” 

Dave rubs his hands on his chest and exhibits satis¬ 
faction with his drink. With his cup in his left hand, 
he picks up a letter and tosses it to Mandy, saying: 

“That’s for you, Mandy.” 

Mandy takes the letter and looks it over, and Betty 
leans over her shoulder. Mandy picks up a table knife 
and cuts the letter open, and reads it, then says: 

“Huh! Wha’t du think o’ that?” 



PHOTOPLAYS 


293 


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Part of 
Letter 


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Betty peeps over Mandy’s shoulder, and Dave leans 
over to see the letter. 

I believe he is deceiving me. If you can provide 
accommodations I should like to bring Mrs. Colby and 
my two sons with me and spend a part of our vacation 
at Red Bluff, that I may investigate the work. 

Write me at once, and keep my coming confidential- 
I shall arrange to arrive on August twenty-first. 

Mandy lays the letter down and exclaims: 

“Now, w’u’d y’u lis’n tu thet? I no’d it all th’ time. 
Shore he’s been swindlin’ Mr. Colby. Jed ort a tol’ 
him lon’go.” 

Dave and Mandy looking seriously at each other. 
Betty claps her hands on Mandy’s shoulder, pleading: 

“Oh, le’s axe ’em tu, come, maw.” 

Mandy pays no attention to Betty. Dave shakes his 
head dubiously and says: 

“Mandy, somethin’ shore is goin’ tu happen. I’ve 
been watin’ a year for th’ blow up in that bull-quartz 
mine. There’s more o’ thet fool’s-gold’ in sight in 
that tunnel than in all th’ balance o’ Montana. Them 
Easter’n fellers jes go plum crazy, when they carry a 
candle thru thet blaze o’ shinin’ iron-pyrites.” 

Mandy listens in an attitude of deep thought, 
drumming the table with her fingers. With a start 
she arouses herself and asks: 

“Ar’ y’u goin up tu Logan, Dave?” 

Dave takes to drinking his coffee hurriedly, answer¬ 
ing: 

“No, Mandy, I’ve got tu git back, right quick.” 
Mandy arises, speaks 

“ I’m thinkin’ I mus’ speak with Jed.” 

Dave excitedly arises, looks at Betty, and exclaims: 



294 

PHOTOPLAYS 

Cut in 

“Are the cayuses here?” 

Betty claps her hands and begins to cut capers, 
speaks 

Cut in 

“Yes, Dave, they’re in th’ stable.” 

Dave pushes his mail-pouch under the table, speaks 

Cut in 

“Let’s take th’ spring wagon and th’ cayuses and 
drive up tu th’ placer an’ see Jed.” Fade to 

Scene 13 

Same as Scene 12. 

Dave, Mandy, and Betty in. All preparing to go. 
Mandy begins to fasten doors and windows. 

Scene 14 

Exterior. Same as Scene ii. Dave and Betty 
come out to the platform. Dave takes his horse to the 
stable in the rear. Dave and Betty disappear in stable. 
Mandy comes out, wearing sun-bonnet and with a 
large basket by her side, Stands on platform as around 
the corner of the house from the stable and into the 
road come a pair of white cay use horses, rearing and 
plunging. They are attached to a light spring wagon. 
Betty is on the seat, holding the reins, while Dave is 
holding fast a heavy rope drawn through the rings 
of their bridles. The brutes are crazy to run. Dave 
shouts: 

Cut in 

“Jump in quick, Mandy.” 

Betty pulls the horses up hard, Mandy mounts the 
wagon, and Dave bounds onto the platform, slowly 
and cautiously draws the rope through the rings, 
(suddenly gives it a jerk, then bounds into the wagon, 
standing back of the seat on which Mandy and Betty 
are seated. 

Leader 

Did you ever travel back op a pair op wild, 

PLATPOOTED UNSHOD CAYUSES ? DlD YOU EVER EXPERI¬ 
ENCE the horrors op SEEING such a crazy team 
COMING TOWARD YOU LIKE AN UNTETHERED CYCLONE 
ON A NARROW MOUNTAIN ROAD? No? WELL YOU 
HAVE ONE HAIR-RAISING NIGHTMARE COMING TO YOU. 



PHOTOPLAYS 


295 


Scene 14 


Scene 15 

Leader 


Sub-title 
Close up 

Cut in 
Scene 16 


Exterior. Long Shot. The mountain road lead¬ 
ing away from Tanner’s. 

With a vicious shake of their heads the wild animals, 
with Dave, Mandy, and Betty seated behind them, 
bound into the air and start away in a break-neck 
gallop, the wagon swinging from side to side, and every¬ 
thing within bounding up and down. Dave is anx¬ 
iously advising Betty who has her feet braced against 
the front of the wagon and is half standing, as she 
saws their bits and holds them down. Bob, near mill, 
with shovel in hand, mending water ditch- Sees the 
wild team pass, with Betty driving. Thinks the team 
is running away. Throws down his shovel and runs 
frantically toward the road. Sees them disappear. 
Iris out. 

Exterior. Mountain Road. 

The team of cayuses tearing along a mountain road, 
with Betty yanking the beasts into submission. Iris 
out 

Nature provides. The things that are lack¬ 
ing IN THE LIVES OP The TaNNERS ARE COMPENSATED 
BY THE THINGS THAT ARE GRANTED. JED TANNER^ 

little placer mine was located in Cherry Val¬ 
ley. In mid-summer the roadway eor miles was 

LINED WITH CHOKE-CHERRIES AND WILD ROSES. 

By the time Betty’s wild drive is ended, the 

WAGON IS FILLED TO THE TOP WITH FRAGRANT ROSE- 

LEAVES and glittering red cherries. 

Jed Tanner 

A square-built, grizzled and bearded man of sixty, 
in large flume box, through which water is flowing. 
Raises up to listen. 

“Hoo-hoo!” 

Exterior. Long Shot. Jed Tanner’s Cabin and 
the flume. 

Betty coming into sight in wagon, with Mandy and 
Dave, and pulling the cayuses to a stop in front of 



296 


PHOTOPLAYS 


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Semi- 
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Scene 17 


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Jed’s cabin, Jed climbs out of flume, waves his hand 
and responds: 

“Hoo-hoo!” 


Dave at head of horses. 

Mandy alights and Betty hands down the basket, 
then springs to the ground. Jed comes up, greets 
Mandy and Betty, then shakes hands with Dave. Jed 
and Dave fasten the heads of the horses to a post with 
the heavy rope and all pass inside Jed’s cabin. 

Interior. Jed Tanner’s Cabin. 

Betty goes poking about the cabin. Mandy begins 
unpacking the basket. Jed brings a black bottle and 
two battered tin cups, and pours out two drinks and 
places the bottle back upon a shelf. Looks up and 
sees Betty examining something. Jed goes to a cabinet, 
takes out a small bottle, shakes it, and hands it to 
Betty, who exclaims: 

“Oh, the big almondines! These are good, Dad.” 

Jed nods, returns to table, pushes a cup toward 
Dave, sits down, and he and Dave drink. Mandy seats 
herself with them and produces the letter from her 
pocket, and hands it to Jed. Mandy speaks 

“Tho’t we’d better tend tu this right quick, Jed.” 

Jed adjusts his glasses and reads the letter. Jed 
drums his fingers on the table thoughtfully. Suddenly 
Jed looks at Betty, speaks 

“Girl, did y’u drive them fire-eating devils all the 
way yourself?” 

All look surprised. Betty speaks 

“I shore did, Dad.” 

Jed turns and points out the door, saying: 

“Then go out there on the pine log an’ you’ll find 
a salt bag full o’ fine garnets,—they’re yo’rn, I never 
seen so many as we’re gittin’ now.” 



PHOTOPLAYS 


297 


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Scene 18 

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Mandy, Jed, and Dave discussing the business in 
hand. Jed arises chuckling: 

“Guess I’d better stick aroun’ when ole man Colby 
comes, might need somebody to do some shootin’.” 

All laugh. Dave points to the big pistol carried by 
Mandy, speaks 

“If y’ur’e too busy, Mandy kin ’tend to that.” 

Jed laughs heartily, speaks 

“Any woman who will shoot a poor innocent Chink 
shorly would shoot a skunk.” 

They arise and pass out of the cabin. 

Exterior. Jed Tanner’s Cabin. 

Jed, Mandy, and Dave come out of cabin. Betty 
approaches, holding up- her bag of garnets. All 
standing near the team of cay uses. Jed turns to 
Betty, speaks 

“Betty, are y’u goin’ to chase these critters back 
home ?” 

Betty holding her bag of garnets, jingles them, say¬ 
ing: 

“I shore am, Dad- It’s lots o’ fun.” 

Jed takes her by the arm, shakes her good naturedly, 
saying: 

“You shu’d a been a man, Betty.” 

All laugh, but Betty swings her bag and says: 

“O, no; I’m glad I’m not, mebby Dave’ll be a widerer 
and then I’ll marry him.” 

All laughing at Betty’s proposal. Jed slaps one of 
the cayuses on the face and spits at him, speaks 

“You’ll find it harder holdin’ ’em goin’ down, Betty. 
Be careful.” 


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298 


PHOTOPLAYS 


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Scene 19 

Scene 20 

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Scene 21 

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Dave, holding the rope in hand, as Betty and Mandy 
climb into wagon, says to Jed: 

“That four-mile drive up-hill shorely would take 
th’ starch out’n a white man’s shirt, and th’ run out’n 
a pair o’ cayuses.” 

As they drive away Jed salutes and says: 

“Give the Colonel a good cussin’ for me, Mandy.” 

Exterior. Same as Scene ii. 

Betty draws the cayuses up to the platform at the 
Tanner home, Dave holds their heads, while Mandy 
climbs out, and Betty fills a bag with the rose leaves- 
Then she and Dave take the team to the stable and 
bring D'ave’s horse to the platform. 

Interior. Same as Scene io- 

Mandy has ready for Dave another pinch of Scotch 
and is writing a letter to Mr. Colby which Dave is to 
mail for her. Dave speaks 

“If y’e don’t shoo me away frum here, Mandy, I 
shore will get loaded. Three shots a day is mor’n 
I’m use to.” 

Mandy laughs, hands him the letter and Dave goes 
out. Iris out. 

Interior. Same as Scene io. 

Mandy and Betty clearing up dining room table, 
Betty speaks 

“Maw, when will th’ Colbys come?” 

Mandy pauses, looks slyly at Betty and asks: 

“Who said anything about th’ Colbys a comin?” 

Betty pouting, says: 

“Oh, I ’node what y’u men’t when y’u told Dave 
y’u’d have everything ready in six weeks. Is that th’ 
time they’re cornin’ ?” 


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PHOTOPLAYS 


299 


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Leader 
Scene 22 


Scene 23 


Mandy heaves a sigh and hands to Betty the cups 

to be carried to the kitchen, speaks 

“Well, yes, child, tha’l cum in six weeks, but what’s 
ailin’ y’e?” 

Mandy looks sharply at Betty, who stands bashfully 
turning and twisting her body and looking at the floor. 
Betty speaks 

“Hain’t they got two boys, Maw?” 

Mandy gasps, half chokes and sputters, as she 
brushes the table with her apron. Speaks 

“Thet’s what he said.” 

Betty turns and passes into the kitchen. Mandy 
looks troubled as she cautiously watches Betty go out. 


The Next Morning 

Exterior. Same as Scene 9, with view of road and 
mountains. 

Bob standing in the doorway of Colonel Maxwell’s 
cottage. Looks up at the mountains back of the Tan¬ 
ner House, stretches his arms high in the air, then 
walks along the course of the flume, past the mill and 
across the road at a bend which conceals him from 
view. Slowly climbs the incline of the gulch until he 
reaches a point overlooking the Tanner home. 

Exterior. An ampitheatre in the mountains. Here 
is a beautiful spot with a pool of clear water, fed 
from a rippling fall above. 

Bob slips in, then concealing himself, he contemplates 
the restful quiet and surrounding grandeur. He espies 
some one approaching. Betty Tanner comes tripping 
into the ampitheater. She bows to the rows of stones 
which she has arranged here in her playplace. She 
waves her hand to all the surrounding rocks, throws 
a kiss to the highest visible peak, and then proceeds 
to prepare for some mysterious rite, first removing 
from her waist the belt in which she carries her ready 



300 


PHOTOPLAYS 


Cut in 


Scene: 24 


pistol. Placing upon a flat rock the new magazines 
that Dave has brought, she opens one and examines 
it for some moments. She opens the collar of her 
dress and tucks it in about the top, and rolls her sleeves 
above her elbows, giving the appearance of a semi- 
decollete gown. She coils the two heavy plaits of 
bronze hair in a pyramid on top of her head, and 
plucks a bunch of holly and places it in the coil. She 
goes to the pool, leans over a rock, and surveys her¬ 
self. Returning to the brook she again examines it, 
and begins to drape her gingham skirt. She is stock¬ 
ingless, and wears upon her feet a pair of Indian 
moccasins. She tucks her shirt high up on her hips, 
revealing strong round and beautiful limbs. Going to 
the pool, she removes her moccasins, and daintily pad¬ 
dles in the cold water. Suddenly she replaces her 
moccasins, bounds to her feet, and begins a wild and 
weird dance, beautiful but without theme,—merely 
the graceful antics of the wild animals,—all the while 
humming and singing a strain in keeping with the 
dance and throwing kisses to a certain high moun¬ 
tain peak. Taking up one of the magazines, she holds 
it open in one hand and begins declaming to the high¬ 
est peak visible where she stands. Speaks 

“My prince dwells there; when he comes I will love 
him and fly away into th’ blue sky. Come, my Prince 
o’ th’ Blue.” 

She rearranges her dress, buckles on her pistol belt, 
gathers her belongings, and departs for her home. 
Bob looks after her, amazement and sympathy regis¬ 
tered on his face. Slowly he passes back to the road. 

Same as Scene 9. 

Enter Bob. At the door he pauses, looks toward 
the Tanner House, crushes his fist into the palm of 
his hand, sighs, and is about to pass into the house 
when he is confronted by Colonel Maxwell, who says: 

“Well, you seem to be flirting with death. If I 
find your carcass up there in the gulch, I’ll not send 
for the Coroner.” 


Cut in 



Leader 


Scene 25 


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Scene 26 


PHOTOPLAYS 301 


Bob looks at him, laughs, shrugs his shoulders, and 
passes inside, the Colonel going to the mill. 

There was no reugion in either Jed Tanner's 

HEART OR HOME. BeTTY HAD NEVER SEEN A BlBLE 
NOR HEARD A SERMON. ShE HAD NO KNOWLEDGE OB 

a God, and all she knew about angels and fairies 

AND GOBLINS SHE HAD LEARNED FROM THE SCANT LIT¬ 
ERATURE DRIFTING INTO HER NARROW ENVIRONMENT. 

She had barely learned to read by long and irk¬ 
some effort. She had adopted play actors for her 
angels, tried to know them, pictured them at 
HOME IN SOME PLACE IN THE VAST BLUE BEYOND HER 
KEN, AND SHE WORSHIPPED THEM IN HER LITTLE 
THEATRE UP IN THE GORGE. 

Interior. Bob’s room at the cottage. 

Bob in. Takes from his steamer trunk a mandolin 
and the blue velvet suit of a strolling musician, white 
stockings, and pumps with large silver buckles, and 
a blue cap with long plume. He spreads them upon 
the bed and pushes his hands deep in his pockets, 
laughs, speaking 

“Ha! ha! I wonder if I would make as successful 
a Romeo to Betty as I did at Yale.” 

He makes a package of the clothes, picks up the 
mandolin, peeps out of his door and leaves the cottage. 

Exterior. Same as Scene 23. 

Bob makes his way to the spot where on the previ¬ 
ous day he had seen Betty going through her theatri¬ 
cals. Concealing himself, he changes his clothes, slips 
a mask over his face, and awaits Betty’s coming. She 
soon comes to the pool in the gorge, where she goes 
through the same routine as before, to the point of 
calling upon her Prince o’ the Blue, whereupon Bob 
strikes a chord on his mandolin. Betty is stand¬ 
ing with her arms high in the air appealing to her 
Prince. She slowly lowers her hands and listens. 
Again Bob thrums his instrument. Suddenly Betty 



302 


PHOTOPLAYS 


drops in a heap upon the ground, and remains there. 
Bob cautiously arises and peers at her, becoming 
alarmed that she does not move. At length she 
stirs, crouching like a wild animal, scared, and 
trying to conceal itself by blending with the gray 
earth. Bob, now standing erect upon a rock, again 
strikes his instrument and sings: 

Cut in “Cbme, dearest heart, ’mid the flowers of June, 

Come out in my garden so gay, 

Pve roses, bright roses of every hue, 

And sunshine for the whole day.” 

(A human voice should sing these lines.) 

As the music comes ringing down through the val¬ 
ley, Betty slowly arises, hesitates for a moment, looks 
up and sees Bob and then she starts to flee, but stops, 
for Bob fearing to frighten her away, ceases his 
singing, and watches her. Betty in her excitement 
forgets her pistol and makes no attempt to rearrange 
her clothing, but stands looking bashfully at the figure 
on the rock, then she slowly returns toward the pool, 
stopping occasionally to listen to the music, which 
Bob now plays. Bob slowly comes down toward the 
pool, thrumming his mandolin. Standing on a rock 
directly overlooking the pool, at the edge of which 
Betty has paused Bob sings: 

Cut in “Give me your smile, the lovelight in your eyes, 

Life would not hold a fairer paradise, 

Give me the right to love you all the while, 

I want forever the sunshine of your smile.” 

Betty in semi-hysterical state, presses her hand) 
tightly over her bosom and with staring eyes watches 
Bob approach her. She seems to be hypnotized and 
unable to move. It was evident to Bob she was 
awaiting his coming. As he comes within a few feet 
of her she in tremblng voice says: 

“Oh, is it true, are you my Prince o’ th’ Blue,—come 
fur me?” 


Cut in 



PHOTOPLAYS 


303 


Cut in 

Leader 

Cut in 

Leader 

Cut in 

Cut in 


Betty drops in a heap upon the ground, covering her 
face with her hands, and trembling as in great terror. 
Bob stoops over her, takes her arm, and says: 

“Don’t be afraid, little Betty, I will gladly be 
your Prince.” 

Betty looks up, Bob removes the mask, and she 
recognizes him. She does not know whether to laugh 
or cry. 

Music Hath Charms to Sooth the Savage 
Breast. 

Bob leans against a rock and softly plays his mando¬ 
lin, and Betty’s fear is drowned in ecstasy. Betty 
still abashed, but Bob’s friendly smile, as he plays 
soft music to sooth her, wins her confidence and 
Bob talks to< her, saying: 

“This is the last place on earth one would expect 
to find a stage rehearsal like this,— isn’t it, Betty?” 

Betty bashfully nods her head, and the two coils 
of hair flap down about her shoulders like live serpents. 

If Bob Had Suggested That the Clear Sky Was 
Raining Honey, She Would Have Nodded 
Just the Same 

Bob reaches out his hand and helps Betty to arise, 
speaks 

“Did I frighten you, Betty?” 

Betty looks up into' his face and bashfully says: 

“Yes, I tho’t you’d come down from som’ere up 
in the mou—mount’ns.” 

They take a seat on a rock, and Bob explains how 
he had seen Betty on the previous day. He points 
at her pistol, saying: 

“So I decided to take chances of being shot full 
of big jagged holes and apply for the job of being 
your Prince o* the Blue.” 


Cut in 



304 


PHOTOPLAYS 


Cut in 

Cut in 
Leader 

Scene 24 

Cut in 

SUB-TITLE 
Scene 25 


Then they both laugh. Suddenly Betty realizes that 
she has not readjusted her dress, and hastily does so, 
while Bob laughingly assists her. Bob speaks 

‘‘You look good in a decollete gown, Betty.” 

Betty makes a face at him, buckles on her pistol, 
and gathers up her magazines. Bob helps her to get 
them together shakes her hand, watches her go down 
the trail toward her home, throws her a kiss, and says: 

“Tomorrow, Betty.” 

A Mother’s Instinct is Like an X-Ray in 
Looking Into Her Daughter’s Heart, and 
Love and Good Luck are Playmates 

Interior. Kitchen of Tanner House. 

Mandy in, suspiciously eyeing Betty, who hurries 
through the kitchen, deposits her magazines in the 
living room, takes off her pistol belt, and returns to 
the kitchen, asking: 

“Well, maw, what kin I do?” 

Her mother points to the broom, and Betty seizes 
it, and passes into the dining room, Mandy watching 
her and shaking her head. 

Several Days Later 

Exterior. Long Shot. Country about Tanner 
House. 

Bob taking his course up to the gulch. He reclines 
upon the ground to rest, the surrounding rocks con¬ 
cealing him. In the distance a man on horseback 
approaches. Bob remains hidden, waiting for the 
horseman to pass. Before making the turn in the 
road, which brings in view the houses, the horseman 
dismounts, draws a carbine from his holster swinging 
from his saddle, fills the magazine with cartridges, 
examines his pistol, remounts, and rides to the Tanner 
House. Bob hurries to the rear of the Tanner house, 
after watching the man enter the store. 



Scene 26 
Cut in 


C ut in 


PHOTOPLAYS 305 


Interior. Tanner’s Store. 

Mandy in. Enter man, speaks 

“Well, Mandy, I’ve kept my promise. I’ve come 
for the gal. Don’t draw Mandy, or I’ll have to shoot 
you.” 

Bob enters store room. Large man with heavy 
mustache and bushy hair has Mandy bent over the 
counter, twisting her pistol out of her hand. Betty 
standing in the door leading into the living house, 
wringing her hands. Stepping close up Bob lands a 
heavy blow on the man’s neck, sending him sprawling 
to the floor, Mandy’s pistol flying across the store, 
Bob takes pistol from the intruder’s holster as he rises, 
the man quickly knocking it out of his hand. They 
clinch, the man, being much heavier than Bob, holds 
him, preventing him from delivering a telling blow. 
Bob uppercuts him and brings him to his knees. He 
seizes Bob about the legs and tosses him sprawling 
upon the floor. Bob kicks him in the face as he goes 
over. They both arise together. Bob gets in a savage 
blow that staggers the man, who runs several steps 
backward, to keep from falling. His hand encounters 
a large cheese upon the counter in which is thrust a 
butcher knife. He grasps the knife and lunges at 
Bob before Bob can seize a weapon. Bob grasps his 
wrist as the knife descends, and tries to hold him off 
but the man overwhelms him. Mandy frantically tries 
to get to her pistol, but cannot evade their struggles. 
Betty rushes forward, seizes a heavy pick-handle and 
brings it down upon the man’s head, rendering him 
temporarily helpless, enabling Bob to land a knockout 
blow, which sends the intruder upon his back uncon¬ 
scious. Panting and bleeding, Bob stands over him, 
saying: 

“That about finishes him, Mrs. Tanner. Get his 
pistol and carbine.” 

Mandy picks up the two pistols,and Betty runs out¬ 
side, soon bringing in the carbine- From beneath the 



3°6 


PHOTOPLAYS 


Cut in 
Scene 27 


Cut in 


Scene 28 


Cut in 


Cut in 


Cut in 


man’s left arm Bob takes another pistol, which he had 
repeatedly tried to draw. The man partially rolls 
over and attempts to rise whereupon Bob gives him 
a vicious kick. This brings the man on his haunches, 
and he glares about savagely. Seeing Mandy, he be¬ 
gan swearing at her. Bob kicks him in the face. The 
man slowly staggers to his feet. Bob shoves him to¬ 
ward the door, picks up his hat, thrusts it upon his 
head, and pushes him out upon the platform, speaks 

“Get on your horse and go before I kill you.” 

Exterior. Same as Scene ii. 

The man painfully mounts his horse. Mandy and 
Betty peer through the door. Man shakes his fist at 
Bob on platform. Man speaks 

“I don’t know who you are, young feller; but I’ll 
git you for this.” 

Man rides away. They watch him till he is out of 
sight. 

Interior. Same as Scene 26. 

Bob enters store-room. Mandy comes to him and 
puts her hands on his shoulders, speaks 

“You saved us, young man. You are always wel¬ 
come in this house.” 

Then Mandy begins to cry. Betty sets about her. 
Bo'b also attempts to quiet her. Mandy looks up at 
Bob saying: 

“Young man, leave us alone awhile. I’ve got sum- 
thin’ to say tu Betty. Y’u kin come up an’ eat supper 
with us tonight.” 

Bob bows, passes out. Mandy puts her arm about 
Betty and kisses her cheek, saying: 

“Betty, I saw y’u up thar with him, but y’u seemed 
so happy I didn’t heve th’ heart to kill him. Now 
its different. I’m glad. I’m, a goin’ to tell y’u sum- 
thin’ w’at y’u ought to know afore this young man 



Scene; 29 

Scene 30 

Cut in 

Cut in 

Sub-titee 
Scene 31 

Scene 32 


PHOTOPLAYS 307 


goes too fur. When I was a young gal.” 

As Mandy talks Fade out and into 

Exterior. Mining Town. Small Cottage in Fore¬ 
ground. 

A young girl (Mandy) is standing at gate of small 
cottage. A large, sporty man approaches, leans upon 
the gate and talks to her. An older man approaches, 
drunk. They all enter house. 

Interior. Poor cottage. 

The two men in Scene 29 sit down and talk. The 
sporting man has the older man sign a paper, and gives 
him a flask of liquor. The older man calls. The 
young girl enters room, as her father points to the 
paper in the other man’s hand, he says: 

“Mandy, you’re goin’ to work for Mr. Dal McPher¬ 
son.” 

The young girl shrinks away in horror. The 
younger man arises, saying: 

“Have her at mv place bv eight o’clock tonight, 
Jake.” 


Dae McPherson's Emporium 
Cook City, Wyoming 

Exterior. Street scene in Cook City, Wyoming, 
showing exterior public dance hall, with sign over 
door. “Dal McPherson’s Emporium.” 

Three men ride to the front, alight, secure their 
horses to the rail, and enter the place. 

Interior. McPherson’s Emporium. Typical sett¬ 
ing. 

The three men in Scene 31 enter, look about, then 
pass to the bar. Several men greet them cordially. 
Dal McPherson, standing at the end of the long busy 
bar, is called forward and introduced to the strangers. 
He orders drinks, and says to the more important 
looking of the strangers: 





3°8 


PHOTOPLAYS 


Cut in 
Close; up 

Cut in 
Close; up 


Close; up 

Cut in 


Cut in 

Close up 


‘‘Glad to see you on our opening night, Mr. Tanner.” 

Tanner leans on the bar, looking about the room. 

Tanner coldly acknowledges the salutation of Mc¬ 
Pherson and tosses down his drink, saying: 

“How!” 

McPherson waves the three men to the table. 
Tanner orders liquor, and they sit down, drinking and 
watching the animated crowd drinking, gambling, and 
dancing. McPherson keeps eyeing the clock over the 
bar. The hands point to the hour of eight. Con¬ 
fusion at the door. Several persons run to the door 
and look out, they quickly scatter, as an enraged 
drunkard shashes his way into the room, half drag¬ 
ging a woman into the place. The whole place is on 
edge and on tiptoe. Tanner and his men, with hands 
on weapons, stand up. Dal McPherson stands for a 
moment, staring. 

Slamming the young woman upon the floor, the 
liquor-crazed man stands over the girl, wildly gesticu¬ 
lating, speaks 

“You will dishonor Jake Tolliver’s name, eh; I 
made a bargain with Dal McPherson, an’ I’m goin’ 
tu make good.” 

Looking about, he espies McPherson, throws up his 
arm and yells: 

“Here’s the gal. Come and git her.” 

As McPherson starts forward, Tanner and his two 
companions also go forward with him. 

Tanner stoops to raise the girl up from the floor. 
Tolliver roughly shoves him away. Tanner knocks 
Tolliver through the door and Tanner’s two men 
stand by him with pistols drawn. As the girl is 
placed upon her feet, Tanner starts back and ex¬ 
claims : 



PHOTOPLAYS 


309 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


Cut in 


“Why, it’s little Amanda Tolliver!” 

Tanner looks at McPherson and then at Amanda, 
who hangs her head in shame. McPherson speaks 

“I contracted with Tolliver for the services of his 
daughter, and the old fool gets drunk and makes a 
muss of it.” 

Stepping forward, McPherson attempts to lead 
Amanda away. Tanner places his hand upon Mc¬ 
Pherson’s arm, saying: 

“Wait a minute.” 

McPherson places his hand in his inner coat pocket, 
and is instantly covered by the pistols of Tanner’s 
men. Drawing out a piece of paper, he shakes it at 
Tanner, crying: 

“Why do you interfere with my business? Here is 
my contract for this girl.” 

Tanner pushes the paper away, saying: 

“I’ll ask the girl one question. What is your age 
Amanda ?” 

Amanda, sobbing, raises her head, and answers: 

“I tol’ father he had no leg’l right tu do this. I 
was eighteen in June.” 

Dal McPherson roughly steps between Tanner and 
the girl, demanding: 

“By what authority do you butt into this?” 

Tanner quickly flashes both his guns. His two 
men cover the crowd back of McPherson. Tanner 
keeps his guns moving, as he speaks 

“By this authority. Amanda, step ‘behind me. Now, 
Mr. McPherson, I’ll thank you for that contract.” 

Tanner returns the left pistol to its holder, and 
extends his hand. McPherson gives him the paper. 
Tanner speaks 



3 10 


PHOTOPLAYS 


Cut in 


Cut in 


Scene 33 


Leader 
Scene 34 

Cut in 


“Keep your hands up and turn your back.” 
McPherson turns his back with hands high up in 
the air. Tanner removes McPherson’s pistol from 
its holster, turns to Amanda, and hands the pistol and 
contract to her, saying: 

“Amanda, your honor is better than all the gold in 
the world. Destroy this worthless paper, and shoot 
the man who attempts to wrong you. Even if it is 
your own father.” 

As he leads Amanda out of the door, his men cover 
their retreat. Old Jake Tolliver is propped against 
the wall in a drunken sleep. No one follows them 
out of the dance hall. 

Exterior. Same as Scene 29. 

Tanner, his two friends and Amanda stand in con¬ 
sultation. One of Tanner’s men mounts and rides 
away. Amanda hurriedly enters the house. Tanner 
and the other man wait. The first man returns with 
an extra horse. Amanda comes out of house carrying 
a canvas war bag and is wearing strong riding skirt, 
boots and sombrero hat. About her waist is a belt 
filled with cartridges, and in the holster are two pistols. 
All mount and ride away. 

Two Years Later 

Interior. Same as Scene 32. 

McPherson seated at table in discussion. He points 
to the walls decorated with trophies, to the bar, waiv¬ 
ing his hand to cover the whole outfit, then says: 

“The whole thing goes, I’m goin’ to cut in at the 
new diggins down in Idaho. They say that place, 
Idaho City, is the heart of the West.” 

Man enters front door, looks about, sees Mc¬ 
Pherson, and jerks his head toward the end of the bar. 
McPherson excuses himself and joins the stranger. 
They converse in low tones. McPherson is in gleeful 
state, pounds the bar and shakes hands with the man, 



PHOTOPLAYS 


Cut in 

Cut in 
Scene: 35 

Back to 
Scene 28 

Cut in 

Sub-title 


Scene 36 


Insert 

board 


311 


who remains at the bar conversing with the bar-keep¬ 
er. McPherson rejoins the man at table. McPherson 
goes to the desk, brings paper, pen and ink and they 
all sign. The men produce bags of money and pass 
them to McPherson. They all arise, go to the Bar, 
and drink. The stranger speaks 

“She is living with Tanner’s mother at Bozeman. 

I saw her there myself.” 

McPherson brings his fist down upon the bar, 
speaks 

“By God, she shall make good on her father’s con¬ 
tract! I’ll go git her.” 

Exterior- Night. A small cottage in near distance. 

Three heavily-armed men, leading an extra horse, 
stop in front of a cottage. McPherson and Tolliver 
dismount. The third one holds the horses. Tolliver 
goes to the door and knocks. Amanda appears in 
door. Tolliver throws blanket over her head, puts 
her in the saddle, and all dash away. 

Mandy is walking the floor. Betty looking tear¬ 
fully up ather speaks 

“Betty, for ten years I danced from Cook City to 
Mexico City, and back. Listen.” Fade out while 
Mandy talks. 

Butte, Montana, was now the hub oe the 
Copper Universe. Copper was queen. Dal Mc¬ 
Pherson’s Blue Bell Cape was the most excit¬ 
ing PLACE in THE GREAT CAMP. 

Exterior. Night. Great arched front, with name 
in large letters “Blue Bell Cafe.” On the bulletin 
board is the picture of a woman dancing, and these 
words: 


THE COPPER QUEEN 

MOST BEAUTIFUL DANCER IN THE WEST. 

A single horseman, leading two extra horses, alights 
near the Blue Bell Cafe. He hitches his horse to a 



312 


PHOTOPLAYS 


Scene 37 


Leader 


ring in a post, and casts the reins of the other horse 
over the pommel of his saddle. Steps between them, 
and carefully examines his pistols, and slowly ap¬ 
proaches the entrance to the cafe, examining it closely, 
especially the bulletin board. He looks at the windows 
on the side of the building, passes to the other side, 
which runs along a narrow alley or street. Returning 
to the front, he boldly enters. 

Interior. Blue Bell Cafe. No dancing is in prog¬ 
ress, but every gaming table is filled and the drinking 
tables well filled. At the long bar groups of two and 
three stand drinking and conversing. The stranger 
walks the full length of the room. Many smile at the 
newcomer, taking him for a well-dressed tenderfoot. 
Old-timers knit their brows and look wise. Going to 
the end of the bar, with his back well protected, the 
stranger orders a drink. The barkeeper looks crit¬ 
ically at him, as he serves. The stranger tosses down 
his whiskey, leans over the bar, and asks a question 
of the barkeeper, who points at the clock. The 
stranger nods, takes another drink, and pays his score, 
keeping his eye on the clock. The pianist begins play¬ 
ing. There is a general rustling over the room and 
a switching of chairs for better views of the stage. 
Suddenly, from the wing of the stage, a beautiful 
woman with copper bronze hair trips forth and begins 
a weird dance, full of grace and beauty. The stranger 
turns away from the end of the bar, strides boldly 
to the stage, draws from his pocket a buckshin bag, 
and leaning his elbow upon the edge of the platform 
begins tossing gold nuggets before the dancer, who 
gracefully stoops and picks them up. It is noticeable 
that he coaxes her nearer and nearer to him, and that 
she is softly conversing with him. He finally tosses 
the bag at her feet, smiles, and as she retires, he turns 
back to the bar. 

This man had committed an unpardonable oe- 

EENCE, AND ALL THOSE PRESENT AWAITED THE COMING 

op Dal McPherson. 



PHOTOPLAYS 


313 


Cut in 

Cut in 

Cut in 

Cut in 

Close up 

Cut in 
Close up 


Dal McPherson enters door and the nearest bar¬ 
keeper motions for him. He informs the proprietor 
of what has happened. The crowd sits breathless. 
McPherson approaches the stranger, who half con¬ 
ceals his face with his hands. McPherson speaks 

"I am Dal McPherson.” 

The stranger throws up his head and speaks loud 
enough for all to hear: 

“I am Jed Tanner. Glad to meet you.” 

With a sardonic grin, Tanner points to a table, 
which they slowly approach and take seats, Tanner 
sitting with his back to the wall, McPherson facing 
him, his face registering uncertainty and pent-up 
anger. Speaks 

"Well?” 

Half the people in the room are standing, some 
quietly slip out; all the games are suspended. A bar¬ 
keeper leans forward and says to one of his patrons: 

"My God! Something will happen sure. This Jed 
Tanner is Sheriff Tanner of Wyoming, the most 
dangerous man in this part of the country. Now you 
watch,— I’ll bet he takes the ‘Copper Queen’.” 

Tanner leans toward McPherson and speaks. Mc¬ 
Pherson places his hand upon the table. Tanner speaks 

"Send for Mandy.” 

McPherson clenches his fists, and anger is registered 
in his face. Tanner slowly pushes his chair back from 
the table. McPherson subsides, looks at Tanner’s 
eyes, and calls a woman from a nearby table. Says 
something to her and jerks his head toward the stage 
platform. The woman passes through a side-door 
and returns, accompanied by Mandy. At the sight of 
Mandy, dressed in a corduray riding habit, with a big 
pair of pistols dangling on her hips, McPherson arises 



314 

PHOTOPLAYS 

Cut in 

and attempts to draw his own weapon, but Tanner 
had him covered. 

“Turn your back.” 

McPherson turns around, and Tanner takes his 
pistol out of his holster, and pushes it down into his 
own belt, then switches him for other weapons. Mandy 
is close to Tanner, who asks her a question. She nods 
her head toward the stage door. Tanner says some¬ 
thing to McPherson, who turns with his hands high 
in the air, and as Mandy opens the door, McPherson 
passes through. Tanner pauses at the door, calling 
back: 

Cut in 

“Resume your pleasure, gentlemen.” 

Tanner passes out and closes door. 

Scene 38 

Interior. Minister’s house. 

Preacher uniting in marriage Jed Tanner and 
Amanda Tolliver. 

Leader 

One Year Later 

Scene 39 

Interior. Jed Tanner’s cabin. 

Mandy sitting up in crude bed. An old Indian 
woman standing by. A new baby is by Mandy’s side 
Tanner enters. Laughs as he sees Mandy sitting up. 
Delivers package to squaw and seats himself by Mandy, 
places arms about her and caresses her. They both 
peep at the baby and are glad. The squaw comes 
with medicine and food, and they arrange it as Tanner 
passes outside. Fade to 

Back to 
Scene 28 

Mandy and Betty sitting in dejected attitude. Mandy 
speaks 

CtrT in 

“McPherson has waited all these ye’rs, Betty, for 
his revenge. One ye’r ago’ he sent me warnin he’d 
cum f’r y’u when y’u was eighteen. Y’u see, he keeps 
his promise.” 



PHOTOPLAYS 


315 


Cut in 

Leader 
Scene 40 

Cut in 


Scene 41 

Cut in 

Cut in 


Betty puts her arms about her mother, who sits with 
her chin in her hands and pats her feet on the floor 
nervously. Mandy speaks 

“Y’u ain't fit fur this young man, Betty, but I’ll make 
y’u fit. Don’t let him make love tu y’u till y’u know 
more. Ef y’u like him later, well an’ good, but not 
now. But I never want you to dance. Betty, it’s 
pizen to young wimen.” Iris out. 

Six Week's Later 

Interior. Front room of Tanner House. 

Bob and Betty sitting together. Betty reciting 
lesson. Mandy enters smiling. Bob looks up and says: 

“Mother Tanner, you’ve a bright daughter. In five 
weeks she speaks as good English as I can. She’s 
getting along finely.” 

As Bob turns away from Mandy, she quietly shakes 
her finger in disapproval of Betty’s close proximity 
to her teacher. Betty slowly and bashfully withdraws 
from her close position. Iris out. 

Exterior. Same as Scene 23. 

Betty seated on rock up in gulch. Bob by her side, 
leaning over her, earnestly talking. Bob speaks 

“Of course, I will not tell the Colonel- You say 
you don’t know how old the boys are. Suppose they 
are handsome young men, Betty?” 

Betty looks up, smiles, and places her hand upon 
his, and asks: 

“What if they are?” 

Bob slips down close beside her, takes his hand in 
his and says: 

“I’ll be awfully jealous, Betty, for I want you all 
for my own. I don’t see how any man could help 
loving you,” 


Cut in 



3 j 6 


PHOTOPLAYS 


Cut in 

Cut in 

Cut in 

Cut in 

Scene 42 

Cut in 

Cut in 
Close up 


Betty looks frightened, but does not withdraw her 
hand. She looks long and earnestly at him, speaks 

“You promised to be my Prince, and I promised 
to be your Princess.” 

Betty leans close to him and he places his arms 
about her, speaks 

I love you more than anyone else ever will, Betty, 
and I could marry you to-day and educate you my 
way, but for the promise you made to your mother.” 

Bob holds Betty close in his arms and kisses her 
repeatedly. Betty reciprocates eagerly. They arise. 

Bob speaks 

“Promise me, Betty, you will not permit any man 
to make love to you or caress you till your mother re¬ 
leases you to me ” 

Betty places her hands on Bob’s breast, saying: 

“I promise you, my Prince, I will always be true to 
you, for I love you so much.” 

They embrace and kiss. Iris out. 

Exterior. Same as Scene i. 

Four-horse stage-coach drives up to the platform of 
the Tanner House with a flourish- Arthur Colby 
driving while Barry is on the seat with him. Mr. 
Colby alights and assists Mrs. Colby to step out upon 
the platform- The two young men clamber down 
from their seat. Mandy and Betty are helping with 
the baggage. Barry nudges his brother, saying: 

“O-o-o sa-ay! Look at the broiler, Arthur.” 

Both boys ogle Betty. Arthur speaks 

“Forget it, Barry, I saw her first!” 

Mandy greets the Colby’s cordially. They intro¬ 
duce their sons, and Mandy introduces Betty. Arthur 
at once becomes very attentive to Betty- Mandy in- 



Scene 43 


Cut in 
Close up 


Cut in 

Cut in 
Scene 44 


Cut in 


Cut in 


PHOTOPLAYS 317 


vites Mr. and Mrs. Colby to enter and they help to 
carry the luggage inside. Betty points the way and 
Arthur mounts the seat and drives the coach around 
to the stable yard,—Betty and Barry following. 

Interior- Front room of Tanner House. The 
place is piled high with bags overcoats, linen dusters, 
and an endless variety of other things. 

Mandy and the Colbys are standing helplessly dis¬ 
cussing living arrangements. Betty enters and looks 
at the mess in amazement and exclaims: 

“What on earth is all this f’r?” 

Motherly Mrs. Colby smiles and Mr. Colby frowns. 
Mandy gives some instructions to Betty and she and 
Mr. Colby begin to carry the stuff up a narrow stair 
to second floor rooms. Mr. Colby comes down, 
brushing his hands together vigorously, and dusting 
off his clothes- Voice outside speaks;— 

“Hoo-hoo!” 

Mandy arises quickly, and starts for the door, ex¬ 
claiming : 

“Oh, ther’s Jed ” 

Exterior. Same as Scene i. 

Betty and Mandy rush out. Barry and Arthur 
come around the corner of the house and stand to 
meet Bob who comes up with Jed. Mandy walks 
to the end of the platform, leans over and introduces 
the boys; speaks 

“Bob, these are Mr. Colby’s boys. Boys, this is th’ 
engineer down at y’r father’s mine.” 

Bob shakes hands with the two young men. Both 
Mandy and Betty beam their satisfaction to see Bob 
spick and span in a freshly pressed brown tweed suit. 
They knew it was a compliment to them. Arthur im¬ 
pertinently looks Bob over and says: 

“Do all mining engineers crease their trousers?” 



3i8 


PHOTOPLAYS 


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Bob looks at him in surprise, and answers: 

“Yes, Mr. Colby, and sometimes other people’s 
trousers, to teach them some manners.” 

Barry slaps his brother on the back and laughs 
heartily. The others smile. Bob comes upon the 
platform and acknowledges the introduction to the 
others. Mr. Colby calls Jed and Bob aside and con¬ 
verses with them. Arthur runs up steps to platform 
and begins his attentions to Betty. Bob, eyeing him 
secretly, catches a smile from Betty and secretly re¬ 
turns it. Mr. Colby takes Bob by the arm, turns to 
Jed, and says: 

“Who is this young man you say is with Colonel 
Maxwell, Tanner?” 

Bob turns to Mr. Colby and says: 

“Let me tell you, Mr. Colby My father met this 
Colonel Maxwell casually on a train between New 
York and Cleveland last June, and asked that I be 
sent out here and he would give me some practical 
experience. After my graduation from Yale, I came 
here in July. I am greatly disappointed.” 

Colby perceptibly warms up. Slapping Bob on the 
shoulder with his left hand, he grasps Bdb’s hand and. 
shakes it heartily, saying: 

“Oh, you’re a college-bred man! Good! You say 
Colonel Maxwell was in Cleveland in June? That is 
news to me. But why are you disappointed?” 

Bob looks Mr. Colby squarely in the face, saying: 

“Because, Mr. Colby, I know you are financing 
this foolish enterprise; you are being deceived. It is 
nothing but a streak of rainbow pyrites.” 

Mr- Colby seems much surprised, saying: 

“Goodness gracious ! Young man, do you know 
what you are saying? Is there no gold in this?” 

Colby takes from his pocket a piece of quartz and 
hands it to Bob. Bob takes a magnifying glass from 



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PHOTOPLAYS 319 


his pocket, and examines the specimen, and returns it, 
and says: 

“A beautiful specimen of gold-bearing quartz! 
Where did you get it?” 

Colby holds the specimen in his hand, turning it 
over and over, looking first at it and then at Bob. 
Speaks 

“The Colonel' sent me this specimen saying he had 
struck a large vein, and asking for money with which 
to buy machinery.” 

Bob straightens up points over to the mountain 
side beyond the mill, and speaks 

“There is no such rock in that tunnel over there. 
I know every inch of it.” 

Jed speaks: 

“Mr. Colby, this Colonel Maxwell is just an ordi¬ 
nary mining shark- I know of two other cases similar 
to yours in which he is interested. I have warned him 
I will shoot him if he crosses that road on my prop¬ 
erty-” 

Colby stands thoughtfully, tossing the piece of ore 
in his hand. He turns to Bob and asks: 

“Where is the Colonel now?” 

Bob scans the side of the mountain closely, and an¬ 
swers : 

“He said he was going up to the tunnel.” 

Colby looks earnestly at both Jed and Bob; speaks 

“Mr Tanner, I’ll hold you in reserve, because of 
this bad feeling between you and the Colonel, but, Mr. 
Belden, you’ll go up to the tunnel with me?” 

Bob laughs, spreads his feet, puts his hands in his 
pockets, and remarks: 



320 


PHOTOPLAYS 


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Scene 45 

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“I may have to lick the Colonel to do that, for I 
don’t believe he will let me go into the tunnel with 
you 1” 

Colby nods his head, speaks 

‘Til attend to that. I ask of both of you to say 
nothing to my young inexperienced boys about my 
being swindled.” 

They all turn in great surprise and looks towards 
the mill. Bob, pointing, exclaims: 

“Why the Colonel must know you are here; he has 
started the mill for the first time since I came here.” 

Colby compresses his lips and nods his head, saying: 

“That’s suspicious. Belden, you go back and see 
what’s doing. Say nothing to the Colonel except that 
I am here. The boys and I will stroll down directly.” 

Iris out. 

Interior. Kitchen of Colonel’s cottage. 

The Colonel is lying on the floor with a blackened 
eye and a bleeding nose. Bob is holding Chin Fu, the 
Chinese Cook, in the big flume, trying to drown him. 

Mr. Colby pulls the enraged Bob off Chin Fu, and 
the boys pull him out of the flume. Bob stands like 
an enraged tiger. Mr. Colby asks: 

“What’s the trouble, young man?” 

Bob points at the Chinaman, saying: 

“The damned Chink blabbed that I knew you were 
coming here and did not tell the Colonel. The 
Colonel called me a liar.” 

The Colonel slowly arises, dazedly wipes his face 
with his shirt sleeve, and begins to knock the dust off 
his clothes. Colby looks at him. 

“Well! Well! Is this your western pastime, Colo¬ 
nel?” 


Cut in 



PHOTOPLAYS 


321 


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Scene 46 


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The Colonel viciously points at Bob, saying: 

“This ungrateful pup has repaid what I have done 
for him in the manner you see!” 

Bob, having regained his composure, laughs; speaks 

You explain to Mr. Colby what I have to be grate¬ 
ful for. Call me some more names, and I’ll give you 
another beating.” 

Chin Fu ducks outside- The boys, admiringly, 
stand by Bob. Iris out. 

Interior. Mill. 

Mr. Colby and Colonel Maxwell in. Mr. Colby 
speaks 

“This difficulty with your assistant it too bad, Colo¬ 
nel. Who is this independent young man?” 

The Colonel places his hand on his sore nose, and 
answers: 

“He is the son of my old friend, Judge Belden, of 
Cleveland, who urgently requested me to take the 
boy and give him some real mining experience. He 
knows nothing of assaying, and I have had to check 
all of his work. That ore runs eighty-two dollars to 
the ton, yet he finds nothing in it.” 

The Colonel points to some bags of ore. He takes 
from a bag a piece of ore and hands it to Mr. Colby. 
Colby examines it closely and asks a question. Colo¬ 
nel speaks: 

“Yes. this is the first sample mill-run I have taken 
out of the tunnel-” 

Colby jabs his foot up against the pile of bags, and 
asks: 

“What kind of a showing have you?” 

The Colonel looks suspiciously about, leans close to 
Colby, and answers: 



322 

PHOTOPLAYS 

Cut in 

“It's the main body I’ve been driving for; I’ve 
locked up the tunnel, and shall go to Bozeman to¬ 
morrow. I’m out of quick to vaporize in the cylinder. 
Upon my return I will go up and look it over.” 

Close up 

Colby nods, looks at his watch and they leave the 
mill. 

Scene 4 7 

Interior. Same as Scene 4. 

Bob standing in Colonel’s office- Colonel briskly 
enters, and gruffiy addresses him with 

Cut in 

“You will go with me to Bozeman to-morrow!” 

Bob looks up quickly, and answers : 

Cut in 

“Like Hell I will!” 

The Colonel whirls upon Bob, and shakes his fin¬ 
ger in his face, saying: 

Cut in 

“You may take your choice; go with me, or get 
to hell out of here.” 

Cut in 

Bob steps menacingly toward the Colonel, and the 
Colonel draws a drawer partially open. Bob speaks: 

“I’ll do neither. I’ve had some experience here. 
Now, I want pay for every day I have been here.” 

The Colonel passes out and viciously slams the 
door. 

Scene 48 

Exterior. Road near Tanner House. 

Colby and Bob meet. Colby asks: 

Cut in 

“Belden, has Maxwell been paying you a regular 
salary ?” 

Close up 

Bob stops and faces Colby, who looks earnestly in 
his face, then Bob answers: 

Cut in 

“He has not paid me one cent.” 

Colby and Bob part. Fade out. 

Scene 49 
Close up 

Interior. Same as Scene 4. 

Colby in room, looking over a sheaf of reports. 



Insert 
page of 

LEDGER 

Leader 
Scene 50 


Cut in 


Scene 51 


Cut in 


Scene 52 


PHOTOPLAYS 323 


Runs his finger down a page, shrugs his shoulder, and 
ponders the items. Reads page on which appears 

Robert Belden, in full to August 1st. $230. 

Chin Fu, in full to August 1st. $110 

Colby shakes his head, pulls out the sheet, and places 
it in his pocket. 

Next Morning. 

Exterior. Same as Scene i. 

Colonel Maxwell rides up trail to road and gal¬ 
lops away for Bozeman. Arthur drives the four horse 
stage coach to the platform. Mrs. Colby, Betty, and 
Barry enter coach, and Arthur drives away. Mandy 
and Mr. Colby wave them good-bye. Mandy speaks 
to Mr. Colby: 

“Jes’ a good drive tu Logan an' back by four 
o , clock. ,, 

Colby walks down to the cottage, where Bob is 
waiting. 

Exterior- Entrance to tunnel with view of trail. 

Bob and Colby arrive at mouth of tunnel and find 
it boarded up, a rough door being fastened with pad¬ 
lock. Chin Fu is sneaking behind them. Bob picks 
up a crowbar and pries out the staple. He stops and 
listens, picks up a handful of rocks, and begins throw¬ 
ing them down through the shrubbery. Colby looks 
at him in astonishment. Bob runs along the clifif and 
laughingly points. Chin Fu is seen running down in 
the valley below. Bob speaks: 

“I thought I smelled that human squash following 
us.” 

Mr- Colby holding his sides laughing. 

They open the door, light miner’s lamp, and pass 
into the tunnel. The return to the mouth, placing 
specimens of ore in bag, restore the staple. Dia- 
PHRAG DOWN AND OUT. 

Same as Scene i. 



324 


PHOTOPLAYS 


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Scene 52 


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Stage coach seen coming. Bob, Mandy and Mr. 
Colby standing on platform, waiting. Betty is driv¬ 
ing the four-in-hand, and Arthur is sitting on the 
driver’s seat with her. Mrs. Colby and Barry are 
sitting in seat back of them. 

Betty puts her foot upon the brake, and pulls the 
horses to a sudden stop. Bob steps close to her, say¬ 
ing: 

“Good for Betty! Done like an old-timer.” 

Arthur points to the horses, addressing himself to 
Bob, says: 

“Go to their heads.” 

Bob only laughs and holds out his hand to lift Betty 
down, saying: 

“Call your hostler, I’m busy.” 

Betty forces the lines into Arthur’s hands, and 
reaches her arms out to Bob, who lifts her down with 
a palpable hug. Iris out. 

Interior. Bob’s room. 

Bob in, giving his laundry to Chin Fu. Arthur and 
Barry Colby enter. Arthur slaps Bob on the back, 
exclaiming: 

“Hello, old top! Doing the family washing?” 

Bob straightens up, looks Arthur over from head to 
feet, steps close up to him, and asks: 

“Your actions towards me have been insulting since 
we first met. What’s teasing you?” 

Arthur spreads out his feet, rams his fists deep in¬ 
to his pockets, grins, and says : 

“Mr. Tanner says the road is the dead-line between 
his house and this outfit, why don’t you stay on your 
side?” 

Bob is surprised, looks at Barry, then at Arthur, 
speaks: 




PHOTOPLAYS 


325 


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Scene 53 

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“Your father is the head of this outfit,—why does¬ 
n’t he come down here and stay?” 

A little taken ahack, Arthur retorts: 

“My father can do as he pleases here.” 

Bob starts toward Arthur, saying: 

“Yes, but his darling baby boy cannot.” 

Barry steps between them. Arthur points to a set 
of boxing gloves hanging on the wall, saying: 

“Maybe you’d like to settle our differences by 
Queensbury rules.” 

Bob takes the gloves off the wall, throws them up¬ 
on the table, saying: 

“Take your choice.” 

Arthur picks up the gloves, weighs them in his 
hands and selects one pair, and turns to Bob with: 

“For the girl?” 

Boh glares at Arthur as he picks up the other pair 
of gloves, and says: 

“I consider that an insult to Miss Tanner, and I’ll 
give you a beating for it.” 

Arthur winks at Barry, and they pass out. 

Exterior. Rear of Mill. 

Barry, Bob and Arthur. Barry calls Bob to one 
side, and says: 

“I don’t think it fair to let you do this without tell¬ 
ing you that my brother was one of the best middle¬ 
weight boxers at Harvard.” 

Bob makes a grimace, saying: 

“Forget it! I’ll teach him to box.” 

Bob and Arthur lay off their coats and put on the 
gloves. Arthur asks: 


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326 


PHOTOPLAYS 


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“Do we hit in clinches ?” 

Bob looks at Barry, and says: 

“You are the referee; anything goes with me.” 

Barry nods and says: 

“Hitting in clinches is fair, and the bout is three 
rounds for points.” 

The boys begin the bout. Bob and Arthur are well 
matched in size and weight. Arthur assumes a 
crouching position. Bo'b stands erect. Barry calls 
“time.” They begin to spar. 

Arthur tears into Bob who boxes, keeping him away. 
Bob reaches Arthur’s nose, drawing blood. Arthur is 
vicious and attempts to batter down Bob’s guard. 
Bob begins to uppercut, to make him stand up. He 
lands a right and left on Arthur’s jaws, staggering 
him. Arthur swings hard, hitting Bob a terrific blow 
on the side of the head, spinning him around, but fails 
to follow it up. Bob comes back, boxes, and sends in 
a right on Arthur’s mouth. Arthur gets Bob on the 
jaw, staggering him. Barry calls “time ” Both boys 
lean against the side of the mill, panting. Barry calls 
“time.” They go at it again,—both eager, but cauti¬ 
ous. Bob feints and draws Arthur on, giving him; a 
terrific uppercut as he comes to him. Arthur is dazed. 
Bob sends a straight left to Arthur’s face; plants a 
hard right in the solar plexus, and drives a right to 
the jaw, and Arthur goes down for the count. Barry 
counts him out- Arthur soon comes around and slow¬ 
ly arises. Barry shakes hands with Bob, laughing, 
speaks: 

“You are some boxer! Where did you get it?” 

Bob gathers up the gloves, lauging: 

Y ^ M was f° r two years’ champion lightweight at 

Both Arthur and Barry look at him in surprise, 
asking: 




PHOTOPLAYS 


3 2 7 


Cut in 

“What! You are not Bob Belden of Yale?” 

Bob laughingly nods, Arthur grins and they shake 
hands. Bob speaks: 

Cut in 

“You’ll leave Betty alone?” 

Arthur nods assent. Iris out. 

Scene 54 

Exterior. Trail up to the gulch. 

Bob walking along trail. Betty is seen hurrying 
along her usual path to her play place. Fade out 
AND INTO 

Scene 55 

Exterior. A secluded nook. 

Bob greets Betty, who asks: 

Cut in 

“Why did y'u lick Arthur Colby? 

Bob smiles, answering: 

Cut in 

“Because he insulted my sweetheart-” 

Betty looks surprised, hangs her head, speaks: 

Cut in 

{ :'s right, a Prince always fights for his lady 

love.” 

They seat themselves upon a rock. Bob places his 
arm about Betty and takes her hand, saying: 

Cut in 

“You said you had something to tell me, Betty.” 

Betty starts, looks up into his face and puts her 
hands on his arm, as she answers: 

Cut in 

“Bob, I’m scared somethin’s going to sep’rate us. 
I don’t know what,;—but somethin’.” 

Bob draws her close to him. Speaks 

Cut in 

“Why, Betty, what do you mean?” 


They arise and Bob takes her in his arms, saying: 

“Betty, I love you so much, I don’t know what I 
would do if they took you away from me.” 

Betty places her arms about Bob’s neck; speaks 


Cut in 



326 

PHOTOPLAYS 

Cut in 

“You will always be my Prince, I’ll wait for you, 
dead or alive, forever.” 

They sit down and converse. Betty speaks 

Cut in 

“Maw is afraid about that man. I don’t know what 
she is goin’ to do. When Dave comes, maybe we’ll 
know then.” 

Cut in 

Bob presses her close to him, saying: 

“Promise me, Betty, if you should be sent away 
from here, you will write me. If you get no letter 
from me, you will know I have not received yours. 
Be true to me till you find out why, for I will be true 
to you till I find you.” 

Betty kisses him, and answers: 

Cut in 

“You will always be my Prince. I will love no 
other man, dear Bob.” 

Scene 56 

Exterior. Same as Scene 9. 

Colonel Maxwell alights from his horse, and takes 
a war-bag into the mill. Bob watching him through 
cottage window. Colonel leads his horse to a small 
stable. Bob hastens into mill and peeps into the 
war-bag and hurries back to the cottage. Mr. Colby 
meets the Colonel at the cottage door and they enter 
his office together. 

Scene 57 

Interior. Same as Scene 4 

Enter Mr. Colby and the Colonel, who places his 
gloves upon the table, and removes his coat. Mr. 
Colby speaks to him and the Colonel goes to his desk, 
unlocks it, takes out a book, examines it and answers 
Mr. Colby’s question with: 

Cut in 

“Have you their receipts ?” 

The Colonel closes the book and leans back in his 
chair and says: 

Cut in 

“I have not made it a practice to require receipts.” 

Mr. Colby turns toward the door, in which Bob ap¬ 
pears, and says: 



PHOTOPLAYS 


329 


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Close up 

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“Belden, you and Chin Fu come in here.” 

Bob turns and motions. Chin Fu appears. Colby 
speaks 

“I want you to give receipts for money the Colonel 
has paid you up to date. 

Bob laughs and looks at Chin Fu, who also grins. 
Bob speaks 

“Mr. Colby, the Colonel has not paid either of us 
a dollar since I came here. 

The Colonel springs to his feet, pounds his fist upon 
the desk, and addresses Bob with: 

“You damned liar, do you think you can pull that 
trick on me?” 

Bob starts around the desk, but Mr. Colby takes 
him by the arm, and speaks 

“Wait, Belden, let me handle this. Colonel, I re¬ 
quest that you give me your account books for ex¬ 
amination.” 

The Colonel now turns to Mr. Colby, saying: 

“Do you doubt my word ?” 

Colby responds: 

“I’ll answer that after I have verified your accounts. 
Are you ready to look through the tunnel with me?” 

The Colonel looks first at Colby, then at Bob, slams 
his book into the drawer, and locks it, saying: 

“No, I can’t go to the tunnel until I do some work 
in the mill.” 

Colby winks at Bob, and speaks 

“All right, Colonel, Bob and I will go up to the 
tunnel.” 

The Colonel looks startled and confused, then turns 



330 


PHOTOPLAYS 


Scene 58 

Cut in 
Scene 59 


Cut in 

Leader 

Cut in 


and leaves the room. Bob tells Colby to wait, enters 
his room, and returns with a pistol, which he puts in 
his pocket, and he and Colby leave the cottage to¬ 
gether. 

Exterior. Same as Scene 56. 

Bob and Colby walking up mountain trail. The 
Colonel stands at corner of cottage watching them. 
As they turn an angle and disappear the Colonel 
hurriedly enters the mill, comes out with a package 
beneath his arm, and rushes into a gorge and dis¬ 
appears. Bob and Colby standing talking. Bob has 
Colby by the arm, speaks 

“We must sprint a little here, he’s on his way to 
the tunnel by the other gulch.” Iris out 

Exterior. Same as Scene 51. 

Colby and Bob arrive at the tunnel. Bob hastily 
opens door, lights a lamp, and places it on a ledge 
inside, and he and Mr. Colby conceal themselves be¬ 
hind rocks, giving them a view of the mouth of the 
tunnel. The Colonel is seen cautiously emerging from 
a narrow pass. He reaches the mouth of the tunnel, 
peers within, laughs, places the package inside and 
attaches a long fuse, lights it and rushes down the 
mountain trail toward the cottage. A tremendous 
explosion wrecks and closes the entrance to the tunnel. 
Bob and Colby, still under cover, looking at the wreck. 
Bob speaks 

“We must remain under cover and catch this fellow 
red handed, Mr. Colby.” 

Mr. Colby registers acquiescence. 

Haee-Hour Later 

The Colonel, Arthur, and Barry come, panting, up 
the mountain pass. They reach the mouth of the 
tunnel. The Colonel wrings his hands and exclaims: 

“My God, they are in there!” 



PHOTOPLAYS 


33t 


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Cut in 

Cut in 

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Scene 6o 

Cut in 


He begins to run wildly about, and Barry rushes 
onto the heap, to examine it. Motions to the others, 
and begins to remove the stones. The Colonel only 
throws up his hands, saying: 

“It’s useless,—we cannot open the tunnel this way 
in a week.” 

Bob and Colby slip out of hiding and stand 
watching the others. They stand a moment, then 
they approach. Colby clinches his hands and glares 
at the Colonel, saying: 

“You murderous scoundrel!” 

The Colonel indignantly draws himself up, and asks: 

“What do you mean, sir?” 

Colby points at him. Speaks 

“I mean that it would be simple justice for us to 
string you up right here. We watched you blow up 
the tunnel.” 

The Colonel explodes, clinches his hands, and ex¬ 
claims : 

“That’s a damned lie!” 

The Colby boys bound forward, but Bob pushes 
them back and, with pistol in hand, motions for the 
Colonel to put up his hands. He searches the Colonel 
and takes a pistol from his rear pocket, then motions 
for him to go down the path. They all move away. 
Iris out. 

Interior. Same as Scene 4. 

Bob and Barry guard the Colonel while Colby sits 
at the Colonel’s desk and writes. Colby arises, and 
says: 

“Colonel, this is a statement of your conduct here. 
Sign it, or we shall take you to Logan, and hand you 
over to the law.” 

The Colonel signs. Fade out and into 



332 

PHOTOPLAYS 

Scene 6i 

Interior. Same as Scene 4 °- 
Bob enters. Mandy enters from the dining room. 
Bob asks: 

Cut in 

“Where is Betty, Mrs. Tanner?” 

Cut in 

Mandy looks guilty, and hesitatingly says: 

“I sent Betty away, Bob.” 

Bob, greatly excited, clinches his hands, and in a 
pleading manner exclaims: 

Cut in 

“Mrs. Tanner! And you did not even let me say 
good-bye.” 

They both stand dejectedly. At length Bob asks: 

Cut in 

“Are you going to tell me where she is, so I may 
correspond with her?” 

Mandy tumes savagely upon him. 

Cut in 

“No, she ain’t fit to marry y’u, Mr. Belden. I’m 
goin’ tu make her fit, ef she still loves y’u, and y’u 
her, y’u kin easy find her. I hain’t done it tu hurt y’u.” 

Mandy leaves the room. Fade out. 

Ceose up 

Exterior. Cottage with wagon before it. 

Dave lifts Betty out of road wagon. A motherly 
woman comes to gate and meets them, kissing Betty. 
Dave hands Betty a letter. Dave drives away and 
Betty and the woman enter. 

Scene 62 

Interior. Cottage. 

Woman and Betty in. Woman pats Betty on 
shoulder, points to chair, and leaves room. Betty sits 
down and opens the letter. Reads letter and cries. 

Insert 

Letter 

Betty: 

Mr. and Mrs. Scanland are goin to Cali¬ 
fornia and have agreed tu take yu tu yur Uncle 
Marvin Tanner. Yur Uncle knows yur cumin’. 

Be a good girl an write. I can’t tell you my 
feelins Betty, but I want y’u to be edikated. 

Mother. 



PHOTOPLAYS 


333 


Scene: 63 


Cut in 


Scene 64 


Insert 

Letter 


Leader 


Scene 65 


Betty softly crying. Mrs. Scanland enters, soothes 
her, and takes her to her room. Iris out. 

Interior. Pullman car. 

Mr. and Mrs. Scanland and Betty in, preparing to 
leave. Pullman Conductor puts head in car, calls: 

“Los Angeles! All out for Los Angeles!” 

They leave train and are met at the head of the 
concourse in the station by Betty’s Uncle Marvin, and 
taken to a large automobile waiting outside. Fade 
out. 

Interior. Same as Scene 10. 

Mandy sitting alone at dining-room table. Opens 
one letter, reads it, and wipes her eyes. Opens the 
other letter, reads it, breaks down, and weeps, with 
her face in her arms, upon the table. 

My dear Prince: 

My heart is breaking. You promised you 
would write every day, and I have had no letter. 
Please write me. 

Maybe, dear Bob, you don’t know where to 
write me. Maybe my letters have not reached 
you. Maybe you have gone away. Oh, how I 
wish Ii knew! But I’ll keep my promise, dead or 
alive, I’ll be true to you. I will always love you. 

Affectionately yours, 
Betty. 

Five Years Later 

Robert Beeden is expert Oie Engineer in Gov¬ 
ernment service. Arthur Coeby is a successeue 
eawyer. Both have been caeeed to Los Angeees, 

IN OlE EITIGATIONS. 

Desk of hotel office. 

Bob registers, is shown into elevator. Fade out 

AND INTO 

Bob stepping out of elevator, clerk calls him, points 
to a man sitting in office, and Bob goes to him, in- 




334 


PHOTOPLAYS 


Cut in 

Cut in 
Cut in 

Scene 66 

Cut in 

Ceose up 

Insert 
Card with 
Note 
thereon 

Cut in 


troduces himself and they cordially shake hands. Mian 
speaks 

“I especially desired to see you now, Mr. Belden, 
because I want you to go with me to the opera to¬ 
night. IPs a big night,—the debut of a great Los 
Angeles singer.” 

Bob bows his thanks, and says: 

“That sounds good to me, Mr. Porter.” 

Mr. Porter arises, speaks 

‘Til call for you at seven-thirty. It’s not a box 
party. You don’t care if another gentleman joins us 
later, if he can do so?” 

Bob assures him he has no objection. 

• Interior. Manager’s box at Opera House, show¬ 
ing stage. 

Bob and Porter enter box. Manager enters. Bob 
is introduced, and Mr. Porter leaves. The Manager 
excuses himself, but returns later and explains: 

“Our star is just returned from her finishing course 
of three years in Europe.’ 

The curtain rises; the star appears, amidst a great 
ovation. A beautiful young woman, with bronze hair 
and exquisite grace. Her singing is beyond descript¬ 
ion and with it all an extraordinary magnetism. The 
audience wildly applauds. Bob sits spellbound. 

Bob is holding in his hand a card,—speaks to the 
Manager, writes: 

MR. ROBERT BEEDEN 

“Betty, at last I have found you. May I come back 
with the Manager, and congratulate you ? 

The Manager looks surprised, speaks 

“And you know her!” 

Bob, smiling, says: 

“I will go with you; but she must not see me until 
you present my card, and she says yes.” 


Cut in 



PHOTOPLAYS 


335 


Scene 67 


Cut in 

Scene 68 
Close up 

Cut in 

Close up 
Cut in 

Cut in 

Cut in 


The two leave the box. 

Interior. Behind the scenes. Betty’s reception 
room. 

The Manager enters. Bob remains in the back¬ 
ground. Manager presents card. Betty, in great ex¬ 
citement, kisses the card, presses it to her bosom, and 
eagerly asks the Manager to bring Bob. Bob enters, 
and Betty bounds forward, throws her arms about his 
neck, and kisses him passionately. The Manager looks 
on in amazement, pats Bob on the back, saying: 

“Don’t change the program. The people out there 
might appreciate this scene, but you lovers postpone 
it till after the show.” 

Betty accompanies them to the door. Fade out. 

Interior. Same as Scene 65. 

Bob and Manager in. Attention is drawn to the 
stage. Betty appears and sings. There is a commotion 
in the Manager’s box. Mr. Porter and Arthur Colby 
enter the box and applaud the singer. Suddenly 
Arthur half arises, and excitedly exclaims: 

“Why, that is Betty Tanner!” 

Interior. Drawing room of Marvin Tanner. 

Bob and Betty in. She affectionately holding to 
Bob’s arm. Bob pets her hand, speaks 

“Betty, were I a woman, I know I would cry for 
joy at finding you.” 

Betty leans her head against his arm, saying: 

“I know why you did not receive my letters, Bob. 
Do you know my poor mother is dead?” 

Bob starts with surprise and shakes his head. 
Places his arms about Betty, saying: 

“Dear Betty, am I still your Prince?” 

Betty leans her head against him, and speaks 




336 


PHOTOPLAYS 


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“If you still want me, my Prince, I am yours for 
life.” 

Bob kisses her. Mr. and Mrs. Marvin Tanner and 
Jed enter. Betty and Bob disentangle themselves. 
Jed Tanner steps forward and shakes Bob’s hand cor¬ 
dially, saying: 

“I guess I caught you across the dead-line that time, 
young man.” 

They all laugh and Bob takes Betty by the arm; 
speaks 

“If I must meet the fate of Chin Fu, I’m ready.” 

Marvin Tanner turns to Bob, saying: 

“We have heard so much of Betty’s love, sorrow, 
and woes,—you need not recount them, therefore, you 
would better disclose your intentions toward our niece 
while we are all here.” 

Bob looks at Betty, then says: 

“Well, Betty and I have been engaged so long it 
does seem reasonable to announce it. I gladly ask the 
generous approval of her father, and you good people 
who have been her staunch friends while I was vainly 
searching for her.” 

Marvin Tanner takes Bob’s hand, saying: 

“Which we heartily grant; and I am sure Jed also 
does.” 

They all look at Jed, who has turned away with 
his handkerchief to his eyes. Betty rushes to his side. 
Jed puts his arm, about Betty, looks up, and smiles. 
Motions to Bob. Jed Tanner speaks 

“Bob, there is something about Betty you should 
know before you marry her. She is the image of her 
mother at same age.” 

Bob places his arm about the old man’s shoulders 
as he speaks 


Close up 



PHOTOPLAYS 


337 


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“I know the story, Mr. Tanner, and you know I am 
a part of it, at least McPherson does. There are no 
dangerous secrets between Betty and me.” 

Jed draws them together, speaks 

“Make her a good husband, my boy, You will find 
her a good woman.” 

Jed motions to his brother and Mrs. Tanner to leave 
the lovers alone, and Boh and Betty sway toward each 
other’s embrace. Diaphragm down and out. 







THE CLAIM JUMPERS 


































































































. 







































































































































































































































































































































































































































PRINCIPAL CAST 


John Barker .Of Munro and Barker, Bankers 

Coeonee Jim Hii,ton .Typical Southern Gentleman 

Interested in Placer Mining 

Ned Stanley .John Barker’s Nephew: Lead 

Martha Hieton .The Colonel’s Wife 

Nannie Hieton .The Colonel’s Daughter: Female 

Lead 

Jack Bride . ) Jackson Hole Chief and Profes- 

Jock Hargraves. ) sional Claim Jumper: Male Heavy 

Jakie SeEmmER .Jack Brill’s Agent 

Hans Gerden .Secret Service Man 

Jayson .Hotel proprietor at Stites 

Jess .Old-time Stage-Coach Driver 

Meee CrosseEy .Saloonkeeper, Elk City 

Mrs. Pepper .Hotel keeper, Elk City 

Frenchy .Camp Cook on Salmon River 

Poker Need .Jackson Hole Queen: Female 

Heavy 


Roughnecks, Waitresses, Hostlers, Sheriff, Deputies, 
etc., etc. 

SYNOPSIS 

Colonel Jim Hilton, old friend of John Barker, has located placer 
claims on Salmon River in Idaho. Calls upon Munro and Baker, 
New York bankers, and asks Baker to lend him fifteen thousand 
dollars to construct water flumes. Baker reminds him that Martha, 
the Colonel’s wife, was once his sweetheart, and for her sake makes 
the loan. 

Ned Stanley is Barker’s nephew, just graduated as a mining 
engineer. The Uncle conceives the idea of sending Ned incognito 
to the Colonel for experience, leaving it to the young man to identify 
himself. 

Ned goes West, stops at Spokane to take branch railroad to 
Stites, Idaho, and overhears a conversation in the Silver Grill be¬ 
tween Jack Brill and French girl. 

34i 

















342 


PHOTOPLAYS 


Later overhears conversation between Jack Brill and Jakie 
Slemmer about jumping the Colonel’s claims. 

Ned goes to Stites, where he meets Hans Gerdon, who, without 
his knowledge is a Secret Service man trying to locate the escaped 
Jackson Hole gang. They both sign up with Jakie as placer 
miners, and join his gang for Willow Flats, on Salmon River, to 
work Colonel Hilton’s placer claims. Take interesting stage-coach 
ride over snow, wonderful snow scenes of Idaho in March and 
April. Scene in house under forty feet of snow,—Mountain House. 

Arrive at Elk City. Pepper House. Scene in Mel Crossley’s bar. 
Ned has encounter with bully of Jakie’s gang in Pepper house; 
gives Mike Murphy a licking. Mike confesses he was put up to 
give Ned a beating to prevent his going to the Salmon with them. 

Colonel Hilton meets them at Elk City. 

Ned and Gerdon precede the gang, arriving at Willows the even¬ 
ing before the gang. Meets Mrs. Hilton and Nannie. Frenchy 
is the sloppy cook at the bunk house. Next day Colonel and the 
gang arrive. The Colonel sends Ned down to his house with pack 
mule. Ned again meets Nannie. Ned warns the Colonel and his 
family of the bad character of the gang. The Colonel has Ned 
come and live at his home as a safeguard. 

Jakie and men begin to build flumes, instead of representing the 
claims. Gerdon visits Ned and keeps him advised, tells Ned of 
scheme to swindle the Colonel. 

Jack Brill takes up a claim, and files on water-right to deprive 
the Colonel of water after he has expended a large sum to construct 
flume. Brill prevents Jakie from doing the necessary representa¬ 
tion work on the Colonel’s claims, so he can jump tEem. 

Jack Brill and Poker Nell slip into Willow. 

Gerdon warns Ned and goes for sheriff. Ned and the Colonel’s 
family prepare for trouble. Jack Brill brings his gang and conceals 
it near the Colonel’s house. Brill and Poker Nell come to the 
house to bulldoze the Colonel, who, however, is ready for them, 
and the whole family covers the intruders with guns, while Ned 
binds and gags them. Ned decoys Jakie and one of his roughnecks 
into the house, and they are also bound and gagged. 

Gerdon arrives with sheriff, and the rest of gang is captured. 

The Sheriff recognizes Jack Brill as Jack Hargraves, the Jack- 
son Hole Chief,—also recognizes Poker Nell and the gang. 

Gerdon makes known that he is a Secret Service man. 



PHOTOPLAYS 


343 


Ned had anticipated Brill by having the claims patented, also by 
quietly doing the representation work. 

Later, while Ned and Nannie are washing gold out of the gravel 
with a cradle, he reveals his identity, and the Colonel and Mrs. 
Hilton give their consent to his marrying Nannie. 































PHOTOPLAYS 


345 


Leader 


Scene i 


Insert 

Card 


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CONTINUITY 

In all mining regions there is a species op hu¬ 
man SHARK MORE CONTEMPTIBLE THAN THE CATTLE 
THIEF OR HORSE THIEF,—HE IS THE CLAIM JUMPER. 

He is usually a dangerous and unscrupulous 

MAN, EVER WATCHFUL FOR AN OPPORTUNITY OR PRE¬ 
TEXT to steal from the legitimate prospector 

THE FRUITS OF HARD, TRYING LABOR IN THE LOCAT¬ 
ING, RECORDING, AND REPRESENTING OF HIS CLAIMS. 

Interior. Wall Street office of Munro and Barker, 
Bankers and Brokers. 

John Barker,—dignified man of fifty-five, with 
kindly face, merry eyes, and soft manners,—seated at 
desk. Enter Clerk with card. Mr. Barker takes card, 
looks at it. 


MR. JAMES HILTON 

Mr. Barker smiles and nods to the clerk to admit 
visitor. Colonel Jim Hilton enters, big, soldierly, 
Southern gentleman. Mr. Barker arises and greets 
him cordially, and leads him to a seat. Speaks 

“And how is my old sweetheart, Martha, Jim? ,, 

Jim pounds the desk. Speaks 

“Just as good and sweet as ever, John, and still in 
love with me.” 

Mr. Barker pokes him in the ribs. Speaks 

“You conceited old rogue! But didn’t you have a 
little girl?” 

Jim nods and talks enthusiastically about the child 
to Mr. Barker, holding up the palm of his hand to 
show how tall she is. Speaks 

“After stealing my girl twenty years ago, how can 
you have the conscience to come to see me?” 

Jim laughs and pounds the desk. Speaks 



346 


PHOTOPLAYS 


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“That’s when you beat yourself, John. I’d a-married 
your sister if you hadn’t told her I was a born drunk¬ 
ard. But weren’t we hellhounds in those days?” 

They talk and prod each other. Mr. Barker oilers 
the Colonel a cigar. The Colonel takes a lot of papers 
and letters out of his pocket. He selects the papers 
he wants, and returns the others to his pocket, then 
lays the papers on the desk, and places his hand over 
them. Speaks 

“John, I‘ve struck pay dirt. I want fifteen thou¬ 
sand dollars to build a ditch and flume to my placer 
ground.” 

Mr. Barker lays back in his chair and laughs. 
Speaks 

“Ah! My turn has come. I won’t lend you a dam¬ 
ned cent on your own account.” 

The Colonel’s face registers surprise. His jaw drops, 
and he is much confused. Speaks 

“But, for Martha’s sake I’ll lend you up to twenty- 
five thousand dollars.” 

The Colonel falls back in his chair and fans himself 
with the papers. Raising up he shakes his finger in 
Mr. Barker’s face. Speaks 

“You bankers are on a level with the Western claim 
jumper. Next thing you’ll ask me to put up Martha 
as security.” 

Mr. Baker laughs. Speaks 

“You’re mistaken, Jim. I’ll lend you a hundred 
thousand on security. But how are you going to 
secure this loan ?” 

The Colonel lays down the papers, and they talk 
earnestly. Mr. Bakef nods assent. They both rise, 
and Mr. Baker accompanies the Colonel to the door, 
bidding him a hearty goodbye. 



PHOTOPLAYS 


347 


Scene: 2 

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Sub-title 
Scene 3 

Scene 4 


Interior. Mr. Barker’s Library. 

Mr. Barker comfortably seated, reading. Enter 
Ned Stanley, his nephew,—twenty-six, splendidly set¬ 
up, athletic chap, cool, calm, and dignified. Mr. 
Barker smiles and points to a chair. There is substan¬ 
tial cordiality between them. They converse. Mr. 
Barker looks over the young man with kindly, inter¬ 
ested eyes. Speaks 

“Ned, your post-graduate engineering course is only 
a foundation. You must have practical experience.” 

Ned looks earnestly at Mr. Barker, and nods his 
head. Mr. Barker suddenly arouses himself, strikes 
his fist upon the arm of his chair, leans eagerly for¬ 
ward and addresses Ned, saying: 

“I have it Ned; this is your chance. I have just 
loaned to my old friend Colonel Jim Hilton fifteen 
thousand dollars to open up a placer. I’ll send you 
out to him.” 

Both men exhibit great pleasure at this suggestion. 
Mr. Barker lays aside his book; gets an Atlas, which 
the two men look over. Ned seems bewildered, speaks 

“Looks as if it is in Mars. Must be a rough coun¬ 
try.” 

Mr. Barker tosses his glasses and goes through the 
motions of deep and rapid thinking. Speaks 

“Ned, I have an idea. The Coloned doesn’t know 
you. I’ll send you there without advising him, leaving 
it to your discretion to identify yourself and present 
your credentials.” 

They talk and plan. 

Two Weeks Later 

Exterior. Street in Spokane. 

Ned Stanley stops in front of entrance to restaurant. 
On front is the name “Silver Grill”. Ned enters. 

Interior. Restaurant. 



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PHOTOPLAYS 


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Scene 5 


Ned comes into restaurant. Head waiter raises his 
his hand and motions for him, draws out chair at 
small table at the side of room. Enter a man and 
woman,—the man small in stature, but strong and 
compactly built, dark, with black hair and black must¬ 
ache ; wears corduroy suit and high boots. The woman 
is a comely young person, who seems to be acquainted 
with the place. She has a French face and brown 
hair. The head waiter seats them at a table directly 
in front of Ned. The man begins to play amourous 
attention to the yonng woman, then, drawing from his 
pocket a wad of tissue paper and takes from it a large 
gold nugget, he holds it in his palm, and extends it 
toward the woman. The woman takes the nugget, 
weighs it in her hand, turns it over, examines it, 
and looks at the man, saying: 

“Where did you get this, Jack?” 

Jack takes the nugget and points to particles of 
white quartz mingled with gold. Speaks 

“I’m going to make a killing out of this, Marie. 
Old Jakie says the ground is lousy with this kind of 
gold. Some old Colonel is squatted on it down on 
the Salmon. Want to go along and see me take it 
away from him ?” 

Marie shakes her head, with the words: 

“Gee! I wish I could, Jack, but Dad couldn’t run 
the hotel bar a day without me.” 

Jack shakes the nugget as he speaks 

“Never mind, honey. I’ll bring this and a lot more 
to you when I come out.” 

The waiter places their luncheon upon the table. 
Ned pays his check and passes out. 

Interior. Railway station ticket office. 

Ned buys ticket to Stites, Idaho, then picking up 
his large English traveling bag goes out, 



PHOTOPLAYS 


349 


Scene 6 
Scene 7 

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Scene 8 

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Scene 9 

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Leader 


Exterior. Railroad yard with waiting train. 

Ned boards train. 

Interior. Railway coach. 

Ned enters, takes seat near window, showing scene 
without, through which window he observes the man 
Jack come hurriedly out of the station onto the plat¬ 
form, and look sharply about. As Jack starts directly 
toward the car, Ned sees a hard-faced wrinkled old 
man standing on the platform directly beneath his 
window. Jack speaks 

“Oh, there you are, Jake! I thought I had missed 
you. Got your men together?” 

Exterior. Railroad train at station. 

Jack and Jakie conferring. As Jack speaks Cut 

in, Jakie nods his head toward several rough men 
standing about the platform; speaks 

"I'll pick up two or three more on the way.” 

Jack looks cautiously about; saying: 

“Be careful, Jake, whom you take down there with 
you. You must not stick a shovel in that ground till 
I get there. Don’t breathe my name even to the 
men.” 

Jack and Jakie shake hands. Jakie picks up a 
bundle and climbs into the car. 

Interior. Same as Scene 7. 

Ned in seat near window. Jakie enters, takes seat 
directly in front of Ned. Jack hovers about beneath 
window till the train starts. Speaks 

“Have everything ready by July first, Jake.” 

The train pulls out, Jack waves his hand at Jake. 
Iris out. 

About the fringe of the expanding inland 
empire hover the fast-vanishing remnants of 
the primeval people. Stites, Idaho, is the town 



350 


PHOTOPLAYS 


Scene io 


Scene ii 


Scene 12 


Scene 13 


Cut in 


OE THE BlACKEOOT INDIAN RESERVATION, LOCATED 

on the sluggish Snake River at the railroad 

TERMINAL. . 

About the stores, and along the streets, the 
Indians squat in lazy indolence,—the whites 

ARE EVEN LAZIER, ALL HAVING ABSORBED THE HABITS 
OE THE RIVER, WITH ITS BANK LEVEL WITH ITS 
WATERS. 

Exterior. Station at Stites, Idaho. Train has just 
pulled in. Bus in waiting. 

Ned and Jakie alight from the train; Ned tosses 
his traveling bag into the wobbly bus and climbs in. 
He is the only passenger. Jakie and a number of 
beastly-looking men are walking. 

Exterior. Road leading to small town. River be¬ 
side road. 

Bus with Ned and driver in driven along river 
to a small wood bridge that crosses the river. 

Exterior. Front of a two-story hotel. 

Bus drives up. Driver gets down, takes Neds bag, 
and the two men enter hotel. 

Interior. Western hotel. 

Enter Ned with driver carrying his bag. To Ned’s 
surprise the driver steps behind the counter, turns the 
register, and hands him a pen. Ned looks up and 
smiles as he registers. The man again takes Ned’s 
bag, lifts several keys from the key-board, and mo¬ 
tions Ned to follow him to the second floor, where 
he unlocks several doors, waves his hand toward them, 
picks up the bag, and says: 

“Take your choice, young man, we hain’t very full 
jes now.” 

Ned peeps into the rooms and motions to the one 
he selects. The man turns to go, Ned calls him, say¬ 
ing: 



PHOTOPLAYS 


35i 


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Leader 

Scene 14 

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Scene 15* 


“Are you the whole show? 

The man laughs. Speaks: 

I do everything but wash the dishes.” 

O'NUY those who have come into actual con- 

TAC WITH IT MAY APPRECIATE THE GRIM HUMOR OF 
CERTAIN PHASES OP LIFE IN THE RAW WESTERN 
COUNTRY, WHERE TRAGEDY AND COMEDY SIT SIDE BY 
SIDE. 

Interior. Dining room of hotel. 

Two long tables accommodate the boarders. Rough 
men are crowding into the room, joking and good- 
naturedly jostling each other. Two raw-boned wait¬ 
resses are serving the mob. Ned enters, stands as if 
uncertain. One of the women winks at the other and 
wags her head toward Ned. Speaks 

“Here, sonny, cut in here.” 

She snatches a chair from a place where another 
man is about to seat himself, shoves it under Ned, and 
rams him up to the table. The other man attempts to 
sit down, and goes sprawling upon the floor. This 
starts an uproar, with everybody laughing. A chair is 
brought to the stranger and, mumbling and grumbling, 
he gets to the table. Someone speaks 

“Shoot the soup!” 

All is clatter and bang as the boarders eat and 
jabber. The man next to Ned finishes and arises. 
Jakie enters. Ned espies him looking for a place. He 
motions to him, and Jakie comes and sits by him. 
They converse as they eat. Jakie speaks: 

“I was raised on a farm, and this always reminds 
me of feeding the hogs.” 

After the meal Ned and Jakie arise and pass out 
together. 

Interior. Office of Stites Hotel. 

Enter Ned and Jakie, they take two seats and con¬ 
tinue their conversation. Jakie speaks: 




352 


PHOTOPLAYS 


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“You’ll find this a rough country young man. Are 
you lookin’ f’r work?” 

Ned nods that he is. Jakie speaks again 

“I’m makin’ up a crew for Colonel Hilton down on 
the Salmon River. How’d you like placerin’?” 

Ned indicates he would like it, and Jakie writes his 
name in his book. Jakie goes out. Only one other 
man remains in the office, reading a newspaper. Ned 
goes to Jayson, the proprietor, who is behind the 
counter. Speaks 

“Mr. Jayson, can you tell me anything about this 
mining country over on the Salmon?” 

Jayson looks sharply at Ned, cocks his head to one 
side , and glances about the room. Drawing Ned close 
to the counter, he says: 

“You surely picked out the road to trouble, young 
man. I take you f’r a tenderfoot.” 

Ned glances at the man in the corner reading, say¬ 
ing: 

“I am a tenderfoot engineer. I want some experi¬ 
ence in placer mining. What about this man Jakie?” 

Mr. Jayson throws up his hands and makes a de¬ 
precatory motion. Speaks: 

“He belongs to that gang of claim jumpers headed 
by the worst scoundrel, Jack Brill.” 

Again Ned covertly glances at the man reading. 
Speaks 

“Could you find me a man familiar with the mining 
game whom I could positively trust?” 

Jayson calls to the man behind the paper and mo¬ 
tions for him to join them. He is a powerful man 
with a calm and unemotional face. Jayson speaks: 

“This is Hans Gerdon, Mr. er-er-” 



PHOTOPLAYS 


353 


Cut in 

Ned laughs and takes Gerdon’s hand, saying 

“My name is Ned Stanley,—tenderfoot,—Mr. Ger- 
don ?” 

The man looks earnestly at Ned as he shakes his 
hand. The two walk across the room and begin con¬ 
versation. Gerdon speaks 

Cut in 

“I signed up with this man Jakie, too. We must 
know each other better, for we shall need friends 
down there.” 

Scene 16. 

Interior. Same as Scene 15. 

Jakie’s crew gathered in hotel office. Jakie speaks 

Cut in 

“Listen, men! To-morrow momin’ at six o’clock 
th’ stage leaves from this hotel door. Dress warm, 
and don’t have any whiskey on you. We are on a 
government reservation till we reach Elk City.” 

Leader 

The Next Morning 

Scene 17 

Exterior. Same as Scene 12. 

Large coach, drawn by six horses, rattles up to the 
hotel front. Jakie’s crew waiting in groups. Amid 
excitement and bustle the men take their places as 
their names are called by Jakie. Ned finds himself 
seated by big Jess,—old-time stage driver,—high upon 
the driver’s seat. Jess speaks 

Cut in 

“Shake, pard! Glad to have good company. First 
trip?” Ned nods and shakes hands. Jess nudges him 
with his elbows, saying: 

Cut in 

“Tenderfoot, eh? Well y’u won’t be long, ’f y’u 
train with this bunch.” 

Leader 

Jess sends his long lash out over the horses like a 
writhing serpent. The coach seems to rise up off the 
earth and go sailing up the main street of Stites for 
the mountain pass. 

There are scenes oe grandeur in the hidden 

RECESSES OE THE ROCKY MOUNTAINS THAT MAY 




354 


PHOTOPLAYS 


Scene 18 


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Leader 
Scene 19 


neither be pictured nor described by words alone. 
They must be seen and experienced. The most 

INSPIRING SNOW SCENERY IN AMERICA MAY BE POUND 

between Stites and Elk City, Idaho, in March 
and April. 

Exterior. A snow-covered mountain road. 

The stage coach traveling at a rapid gait over 
twenty to forty feet of snow. The straight pine trees, 
from one hundred and fifty to two hundred feet in 
height, resemble great white cones, being one solid 
mass of snow beaten into the limbs solid to the body. 
These cones are decorated from top to bottom with 
the extending green tips of the boughs. The snow 
falls softly, scarcely a breeze stirring. The silence 
begets sleepiness and the glare insanity. 

Ned and Jess still conversing on Driver’s seat. 
Ned speaks 

“It makes one dizzy, Jess.” 

Jess smiles and nods. Suddenly the horses fall 
forward in a pile, and the coach rushes almost on top 
of them. The lead horses are out of sight. The 
snow crust has broken. Jess yells: 

“All out!” 

Jakie’s men come rolling out of their snug, warm 
seats. The coach is pulled back and shovels are put 
to work to extricate the horses. Iris Out. 

Evening Arrival at Mountain House 

Exterior. A wayside inn for taking care of trans¬ 
fer teams. The coach drives over snow forty feet 
deep and above the level of the chimney top, out of 
which a blue smoke is arising. No other part of the 
house is visible. Steps are cut in the snow leading 
down into the house. 

Jess and his coach take a sudden plunge down a 
tunnel, and into a great barn thirty feet beneath the 
snow. 



PHOTOPLAYS 


355 


Scene 20 

Scene 21 

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Scene 22 

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Scene 23 
Scene 24 


Interior. Mountain House. 

All Jakie’s men seated at long table, eating, also 
Ned, Jess, and Jakie. 

Interior. “Bull Pen” where the men sleep. 

Usual activities attending the ceremony of men 
bunking in the West,—in this instance, Ned, Jakie 
and the rest of the crew. 


Next Morning 

Exterior. Sleighs ready for Elk City, waiting in 
snow. 

Men draw lots for sleighs. Ned and Gerdon draw 
the same sleigh and take the lead. Ned again climbs 
up to the seat by Jess, who is driving the leading 
sleigh, and they are off. Jess speaks 

“First big sleighride, Cap ?” 

They smilingly look at each other and Ned nods. 
Jess looks cautiously over his shoulder, leans over 
and speaks to Ned 

“How’d y’u happen to hit this Jackson Hole bunch 
o’ cut-throats?” 

Ned looks startled, as he says: 

“How about Gerdon?” 

Jess turns and looks back at the four men in the 
rear sleigh, speaks 

“Is Gerdon there? Stick close to him. He’s all 
right.” 

Exterior. A thrilling scene of the big sleighs 
trailing each other over the frozen snow. Iris out. 

Exterior. Elk City A typical mining town. 

A crowd of heavily coated and booted men stand¬ 
ing along the streets and about the Pepper House, 
run by one Mrs. Pepper. The sleighs come streaming 
into the city on dry ground, the snow having disap- 



PHOTOPLAYS 


356 


Scene 25 

peared from the valley. Upon the arrival of the 
sleighs, the inhabitants of Elk City begin to pour out 
of the stores, the postoffice, and the bar-rooms to see 
the new men. They comment on the in-coming men 
as they alight. Most of the crew pass across the 
street to the bar of Mell Crossley. Jakie, Ned, and 
Gerdon go into the hotel. 

Interior. Dining-room of the Pepper House. 
Long tables to seat forty persons. 

Ned and Gerdon in. Bunches of rough men be¬ 
gin to roll into the dining room, laughing and jostling. 
A big fellow, half loaded, bumps heavily against 
Ned, jostling him against Gerdon. Gerdon steps be¬ 
tween Ned and the stranger, saying: 

Cut in 

“What’s the purpose, stranger?” 

The big stranger looks at Gerdon with a surly 
grin, then looks at Ned, speaks 

Cut in 

“Say, I’ll eat that cub 0’ yor’n, an’ you too.” 

The stranger roughly shoves Gerdon away from 
him, and makes a grab for Ned. The crowd pauses, 
and they surge back into the office. Gerdon, now in 
a rage, is ready to pounce upon the stranger. Ned 
takes Gerdon by the shoulder and draws him back, 
and himself confronts the stranger. Ned speaks 

Cut in 

“I’m a stranger here, but I don’t need anyone to 
protect me. New tell me your trouble.” 

The stranger hunches his big shoulders, bows his 
neck, sticks out his chin, shows his teeth like a wild 
beast, and hunches his hands like claws, as he prepares 
to spring upon Ned. Ned does not wait. He lands the 
toe of his heavy raw-hide boot upon the shin bone of 
the stranger, and as the man gasps with pain Ned lands 
a hard right to the point of his chin and knocks him 
completely out. Then Ned and Gerdon take their 
places at table. Old-timers look cautiously at the cool 
young stranger who is now eating soup, and they wag 
their heads approvingly, and wink and whisper. 



PHOTOPLAYS 


357 


Scene 26 

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Exterior. The long porch in front of the hotel 

Knots of men stand about the streets talking about 
the “fuss.” Ned and Gerdon sitting on porch, 
smoking. Men pass in and out of the hotel to get a 
glimpse of the fighting youngster. Jakie comes out 
on the porch with the big stranger and they walk to 
where Ned and Gerdon are seated. Jakie speaks 

“Stanley, I want you and Pat to be friends. This is 
Pat Barney; he’s going down with us.” 

Ned arises, smiling and offers his hand to Pat, say¬ 

ing: 

“I think we’ve met before. Just call me Ned, Pat. 
You’ll find me worth knowing.” 

The burly Irishman cocks his head to one side, 
places his hand on his jaw, shakes hands with Ned, 
and remarks: 

“Shure, an’ I’ll be axin’ f’ an introduction hereafter. 
I’d rather have ye as a frien’ than a foe any time.” 

Ned introduces Gerdon and they offer Pat a seat. 
Ned speaks: 

“Sit here awhile, Pat. Those boys are looking for 
a fight. You’d be fighting in ten minutes over there.” 

Ned hands Pat a cigar and a match. Pat slowly 
lights and puffs at the cigar, looks at it, then thought¬ 
fully looks at Ned, puts his pudgy finger on his arm, 
and leans forward with his elbow on his knee, saying: 

“How did y’u hap’n t’ git in wid a bunch o’ hoboes ?” 

Ned looks surprised at Pat, then at Gerdon, speaks. 
“Hoboes!” Why I thought those were Jakie’s placer 
mines.” 

Pat looks carefully about, hunches his chair closer, 
looks earnestly into Ned’s face, then speaks: 

“They don’t want y’u down there, and put me up to 
givin’ y’u a beatin’. Keep mum. I’ll hate y’u,—see,— 
but lave it to me.” 


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Pat arises, and without looking back he crosses the 
street and enters Mell Crossley’s bar-room. Two 
men come out of the hotel and motion for Gerdon and 
Ned to join them over at the bar. Gerdon accom¬ 
panies them, but Ned passes into the hotel. 

Interior. Crossley’s bar. Large room with long 
bar and tables. Place filled with men. No women are 
present, and only card games intimate gambling. 

Enter the two men and Gerdon. Mell Crossley 
leans across the bar and greets them. Crossley speaks: 

“Who’s the handy young buck with you, Gerdon?” 

The men bunch their heads together and await 
Gerdon’s reply, which is: 

“He ain’t with me. He’s one o’ Jakie’s pickups. I 
rode over with him. Seems to be a decent sort.” 

The two men leave Gerdon talking with Crossley, 
who says: 

“I don’t like this Jake Slemmer bunch, Gerdon. 
He is working for Jack Brill, and they are giving a 
bad name to this whole region. What are they up to 
now?” 

Gerdon looks at some of Jakie’s men standing at the 
end of the bar. Speaks 

“That’s what I’m going down there for, to find out, 
Mell, I’ll keep you posted.” 

Iris Out. 

Exterior. Main street in Elk City. Next morning. 
Pepper House. 

Men, humped up with hands in their pockets as 
though cold, run across street from hotel to bar. A 
large fine looking old gentleman, resembling a South¬ 
ern Colonel, rides up to the Pepper house and dis¬ 
mounts. Jakie and some of his men are standing upon 
the hotel porch. Jakie steps up to the arrival, speaks: 

“Is this Colonel Hilton? I am Jake Slemmer.” 


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The hearty Colonel shakes Jake’s hand and they 
stand and talk for a few moments. Jakie speaks : 

“Pve brought a fairly good crew over, Colonel. I 
think we’ll get along.” 

Jakie calls to the men who are hanging about the 
hotel, including Ned, and introduces them to the Colo¬ 
nel, who invites them across to the bar. Noticing that 
Ned lags back and does not accompany the others the 
Colonel waves his hand for him to come on. Ned 
says: 

“I’ll wait here, if you don’t mind, Colonel.” 

The Colonel speaks to Jakie and looks back to Ned, 
then turns toward Crossley’s bar where all enter. Mrs. 
Pepper comes out on the porch, and seeing Ned alone, 
walks to him, saying: 

“Is this your first trip to Elk?” 

Ned arises and nods that it is. Mrs. Pepper sighs 
heavily; speaks 

“Well, you’ll shorely get experience out here. Ever 
met any of these men before?” 

Ned shakes his head. Mrs. Pepper speaks 

“Jes be careful, young man, they’re none too good. 
I’m afraid for the Colonel’s nice family down in that 
hell hole.” 

“Why, has the Colonel brought his family out here 
with him?” 

Mrs. Pepper becomes confidential, replying: 

“The nicest wife and the sweetest daughter I ever 
saw. They stayed here for two weeks before going 
down to Salmon River.” 

The Colonel and his crew are seen coming out of the 
bar. Mrs. Pepper nods to Ned and passes inside. 
Horses are brought up for the men. Gerdon walks 
to the men having the horses in charge, and has a word 



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with them. One of the men selects two horses and 
hands the reins to Gerdon. Gerdon motions to Ned. 
They adjust their packs and mount. Gerdon turns 
and speaks to Jakie and the Colonel, who nods, and 
they ride away. Gerdon speaks to Ned 

“We must go all the way through to-day and beat 
this gang. They are loaded with whisky. They will 
only reach Dixie to-night.” 

As Gerdon and Ned ride out of sight, there seems 
much confusion about getting the crew away from 
the Pepper House. The cavalcade finally gets into 
motion, the Colonel and Jakie leading the way. Iris 
Out. 

There are smaee vaeeeys, seated deep down in 
the Rocky Mountains, nestling close to the 
rivers, which are almost tropical in midsummer. 
Such gardens oe Eden may be pound along the 
Salmon River. Willow Flats was located 

THERE. A SHORT DISTANCE BELOW WAS THE PLACER 
MINE AND COMFORTABLE DOUBLE LOG CABIN OP CoL- 
onel Jim Hilton. 

Exterior. A sharp ridge following a well-defined 
trail leading toward Willow Flats. The tumbling Sal¬ 
mon river glints in the last rays of the sun which is 
dropping behind the mountains. It looks like a sheer 
drop of a mile to the flat below. 

Along the trail come in single file two* horsemen, 
Ned and Gerdon. When they reach a point overlook¬ 
ing the little valley below, Gerdon speaks 

“We must foot it the balance of the way, and must 
work fast, as it gets dark in a minute down here.” 

They dismount and pass down the steep trail lead¬ 
ing their horses. 

Exterior. A number of deserted log cabins 
strewn about and some half a dozen others occupied 
by a squalid lot, the children seemingly only half 
clad. The evening atmosphere is delightful. A bunk 
house, surrounded by a horse corral. 



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Scene 31 


A sloppy, fat man, 'bleary-eyed and bare-footed 
stands in the doorway, his arms covered by a big 
white apron. Ned and Gerdon ride up. Gerdon 
speaks 

“Hello! Frenchy, where’s your bonnet?” 

Frenchy reaches inside the door and cocks a white 
paper on his frowzy head and shakes hands with Ger¬ 
don. Ned is introduced, and Frenchy points to a 
long shed back of the bunk house. They take their 
horses there, lift off their saddles, water the horses, 
and give them feed. Then they return to the bunk 
house. To Frenchy Gerdon says: 

“Jakie and his pirate crew will come in by noon 
to-morrow, Frenchy. So this is where we are to get 
our flees, eh?” 

Gerdon and Ned look about the filthy place and 
Frenchy grins, pushes up his paper cap and scratches 
his head, speaks 

“Yes,—and other things. How many’s cornin’?” 

Gerdon tells him, and he and Ned go to the flume 
of running water and bathe their hands and faces, 
then look about. Gerdon shakes his head, saying to 
Ned: 

“It’ll take nerve to stand for this, my boy.” 

Frenchy motions, and they enter the big mess house. 
Iris out. 


Next Morning 

Exterior. Bunk house at Willow Flats. 

Ned and Gerdon looking over some fishing tackle. 
Dogs begin barking and run down the roadway. 
Two women on horses ride up to the front of the 
bunk house. Seeing the two men, they hesitate about 
dismounting. Ned arises and lifts his cap. One wo¬ 
man is about forty five, and the other about twenty, 
and of exquisite beauty; they are modishly attired 



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and ride excellent horses. Frenchy steps out, raises 
his paper cap; speaks 

“These are part of the new men, ma’am. The 
Colonel will come in with the others at noon. This 
is Mrs. Hilton and her daughter.” 

Ned and Gerdon acknowledge the introduction, and 
the younger woman intimates she will dismount. Ned 
quickly steps to her assistance. Mrs. Hilton speaks 

“See that the men are made comfortable, Frenchy. 
Come, Nannie.” 

Ned promptly offers his hand and lifts the young 
woman to her saddle, and raises his cap when she and 
her mother ride away. Ned and Gerdon stand star¬ 
ing at each other. Gerdon speaks 

“No place for a girl like that.” 

Ned shakes his head, looks down the road, stands 
thinking for a moment, then picks up a fishing rod 
and begins to examine it. Iris out. 

Exterior. Same as Scene 29. 

The calvacade, headed by the Colonel and Jakie, is 
seen silhouetted against the blue sky as it trails along 
the sharp ridge. 

Exterior. Same as Scene 3. 

The Cavalcade arrives. Frenchy, Ned, and Gerdon 
greet them. The Colonel leans upon the pommel of 
his saddle and looks down at Ned and Gerdon, 
speaks 

“When did you fellows get here?” 

They laugh and help the Colonel to alight as they 
talk. Gerdon takes the Colonel’s horse. Colonel 
speaks 

“Water, but don’t unsaddle him, Gerdon, I shall 
ride down to my house.” 

The Colonel stands, removing his big-cuffed riding 



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gloves. The men are taking care of their horses. 
Ned steps up to the Colonel, saying: 

“Can I do anything for you, Colonel, before you 
start for your home?” 

The Colonel looks up, slaps his gloves on his clothes, 
as though beating off the dust of travel; answers: 

“Come to think of it, you may, young man. Go 
out there and pack that stuff for my horse on one of 
those donkeys and start on the way. I’ll overtake 
you. Keep straight down that road/' 

Ned chuckles secretly and proceeds to execute the 
Colonel’s orders. Gerdon helps him to pack the 
donkey, then Ned rides off. As he starts away, he 
looks wisely at Gerdon, and says: 

“Things are starting our way, Gerdon.” 

Exterior. An open space in which placer mining 
has been done. Toward the mountain side a neat 
double log cabin is seen about which is a small garden 
spot and fruit trees. 

Ned approaches the house, and the Colonel’s 
daughter, Nannie, comes out of the door, and waits 
for him to arrive. Ned raises his cap, and explains. 
Nannie speaks 

“Oh, Mamma! Dad is up at the Willows.” 

Mrs. Hilton comes and stands in the door. She 
smiles and nods to Ned, Nannie helps Ned to unpack 
the supplies, and secretly watching him. They are 
carrying them inside when the Colonel rides up, 
springs from his horse, and is affectionately greeted 
by both the daughter and mother. He turns to Ned, 
saying: 

“What do you think of this snug place down here, 
young man?” 

Ned scratches his head, hesitates, and kicks the 
gravel with the heel of his boot. Looking up quickly, 
he says: 



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“It seems an ideal spot for a summer outing; but, 
Colonel, from what I have learned about some of these 
men that came down with you, this is a dangerous 
place for women.” 

The mother and daughter look frightened, and the 
Colonel straightens up and looks sharply at Ned and 
pointing to the placer ground, speaks 

“Why they are going to work right out there. 
What do> you know about them ?” 

Ned looks at Mrs. Hilton and Nannie. The Colonel 
turns to them, and speaks and they pass into the 
house. Ned and the Colonel stand talking. The 
Colonel speaks 

“Knowing this, why did you join the crew?” 

Ned looks confused, but straightens up and looks 
the Colonel squarely in the face, saying: 

“Colonel, if you will not question me now, I ,will 
confide to you that Gerdon and I have joined this crew 
for a secret purpose, which is wholly favorable to your 
interests here. Later I will tell you the facts.” 

The Colonel looks at Ned, then thoughtfully at the 
ground, nods, and shakes hands with Ned, who turns 
towards the Willows with his donkey. Iris out. 

Interior. Colonel’s home; living room. 

The Colonel in. He rips open a bundle of news¬ 
papers and flattens them out upon the table. Nannie 
enters and leans her elbows upon the table, watching 
her father run them over. Mrs. Hilton enters, speaks 

“Jim, I think you should learn more about this 
young man you sent down here. He is quite dif¬ 
ferent from the others.” 

The Colonel straightens up and looks at her sharply, 
saying: 

“Yes, he seems to be well educated and a gentle¬ 
man.” 

The Colonel slips down into a chair, and sits think- 



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Newspaper 

Headlines 


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Scene 36 


ing, drumming on the table with his fingers. Arous¬ 
ing himself, he looks askance at Nannie, who is read¬ 
ing a paper, then at Mrs. Hilton. After a pause, he 
speaks: 

“Mother, Lm not well impressed with these rough 
men coming down here. If I find this young fellow 
is worthy, could you take care of him here as a sort of 
safeguard in my absence ?” 

Mrs. Hilton looks startled and Nannie looks first at 
her mother then at her father. Mrs. Hilton answers: 

“I leave that to your judgment, Jim. His actions 
are those of a gentleman rather than of a miner. On 
a pinch we could accomodate him.” 

Nannie spreads a paper out on the table and points 
her finger at it, saying: 

“Who’s Poker Nell, Daddy?” 

The Colonel picks up the paper and examines it. 

RAID ON JACKSON’S HOLE 
Big Blonde Poker Nell, Again Escapes 
With Mysterious Leader 
and Several Members op the Gang 

Net Spread Over Whole West For 
Their Apprehension 

The Colonel places the paper upon the table, and 
looks uneasy. Nannie looks at him inquiringly. He 
laughs and they converse over the news found in the 
papers. Iris out. 

Next Day 

Exterior. Colonel Hilton’s placer ground. 

Enter Jakie’s men, who walk over it, examining it, 
and appear to be planning their labor. Enter Colonel, 
who calls Jakie and Ned and shows them where a pit 
has been sunk. Gerdon is watching Jakie. Jakie 
takes out a rule and measures the dimensions of the 
hole, saying: 

“Well, Colonel, it will take till the first of July to 


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build the flume and bring permanent water onto the 
ground.” 

The Colonel looks disappointed. He and Jakie con¬ 
fer. Turning to Ned, the Colonel, taking him by the 
arm, speaks 

“Jake, if it doesn’t matter to you, I should like to 
have this young man remain down here with me. I 
have more work here than I can take care of. Lay 
out his work here on the ground.” 

Jakie looks sharply at the Colonel, thinks a moment, 
nods assent, then walks away with Gerdon. The Colo¬ 
nel and Ned look after them; speaks 

“Ned, have you any objections to such an arrang- 
ment?” 

Ned looks at the Colonel and speaks: 

“No, if it will not inconvenience your household, I 
should feel very grateful to escape the < bull-pen\” 

The Colonel laughs. He and Ned walk to the house 
together. Mrs. Hilton and Nannie come out of the 
house and all stand and talk. The women greet Ned 
cordially. Ned and the Colonel walk away talking. 
Iris out. 

On Sundays Gerdon came down and visited 
Ned. These visits were becoming interesting. 
Ned had rigged up eor Nannie a cradle por wash¬ 
ing GOLD. 

Exterior. The cradle for washing gold. 

Ned and Gerdon examining the cradle. Ned puts in 
some gravel, then rocks the cradle, while Gerdon pours 
in the water. They examine the results. Ned speaks 

“I tell you, Gerdon, this is rich ground. I believe 
we could have had water on the ground before this.” 

Gerdon looks sharply at Ned, speaks 

“The Colonel will not get water on his ground if he 



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waits for this bunch of rogues. I have learned the 
whole trick, Ned.” 

Ned raises up from his work and stares at Gerdon, 
who speaks 

“It is so simple,—it is laughable. Pat has quit Jakie 
and is sinking a prospect hole on a piece of ground 
between here and Willow for some outsider.” 

Ned sits down upon the bank and looks up at Gerdon. 
Ned speaks 

“Well, what of that?” 

Gerdon laughs, saying: 

“What‘of that? Why, that is made the excuse for 
grabbing the water-right, and that will prevent the 
Coloners using the water after he has paid for con¬ 
structing the ditch and flume. Pat tells me the claim is 
filed in the name of one Jack Brill, Professional Claim 
Jumper, who owns the water-right.” 

Ned springs to his feet, and pounds his fist into 
his hand; speaks 

“That is not all: if the representation work is not 
done on these three claims and recorded before July 
first the same person will jump these claims. That’s 
why Jake has done no work down here.” 

Ned shakes his head and thinks deeplp; speaks 

“Don’t say a word to any one else Gerdon. I’ll need 
you about July first.” 

They walk up the river bank. Gerdon speaks 

“I nearly forgot to say that all the men will go out 
on July third, and will not return.” 

Ned nods his head, saying: 

“I think I can save these claims, Gerdon, but I’m 
puzzled about the other matters.” 

Gerdon fills and lights his pipe, speaks 




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“You hold this end down, and I’ll line up the pret¬ 
tiest game you ever saw up there, but you must keep 
the Colonel quiet.” 

They shake hands and separate. Iris out. 

Exterior. Same as Scene 37. 

Nannie comes down the path to meet Ned and they 
walk back to the gold cradle and begin to wash out 
gold. Ned pours in the water and rocks the cradle, 
with his foot while Nannie brings the gravel and 
dumps it in. Suddenly Ned pauses, looks into the 
cradle, and picks out a big gold ngget, which he holds 
up, then places in Nannie’s hand. They stand, ex¬ 
amining it. Ned places his hand over Nannie’s hand 
and squeezes it, speaks 

“Nannie, do you still believe me a hobo miner?” 

Nannie hangs her head, shakes it, puts her hand on 
Ned’s arm. Ned speaks: 

“Well, I’m not. I’m here for a purpose, and I am 
going to confide in you. May I trust you not to tell 
your parents?” 

Nannie is eagerly interested and bows her head 
vigorously. Ned speaks 

“Your father is being swindled, and Gerdon and I 
are going to save his claims and get the swindlers.” 

Nannie looks astonished. Ned speaks 

“After I have made good and identified myself to 
your parents, then I will ask you something. Will you 
think it over?” 

Nannie looks bashfully up at Ned, places her hand 
on his arm, hangs her head, and begins to push the 
long handled shovel in the sand. Ned looks at her and 
laughs. Nannie pouts and nods her head. Ned 
kisses her hand; speaks 

“Come on, I’ve something important to tell your 
father.” 



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Exterior. The Hiltons’ house. 

Ned and Nannie are seen walking up the path to the 
house, where the Colonel and Mrs. Hilton are sitting 
in front of the cabin door talking. They see Ned and 
Nannie coming. Mrs. Hilton speaks 

“I wish we knew more about this young man.” 

The Colonel looks at her, then at the young people 
approaching; speaks 

“I hope he is all he seems to be. He’s a nice boy, 
and Nannie likes him.” 

Mrs. Hilton looks sharply at the Colonel, and says: 

“And he may be a renegade, so far as we know.” 

The Colonel springs to his feet and turns to go into 
the house, saying: 

“That reminds me,—I want to show Ned that article 
about Jackson’s Hole.” 

Goes in. While Ned and Nannie stand talking to 
the mother, the Colonel comes out with newspaper in 
his hand, and gives it to Ned. Ned carefully looks at 
it, and hands it back to the Colonel. Ned speaks 

“Colonel, I have something important to tell you, and 
I think, in the circumstances, Mrs. Hilton and your 
daughter should hear it also.” 

The Colonel tells Ned to sit down, and all are 
deeply interested. Ned recounts Gerdon’s story. The 
Colonel looks angry, pounds his knee, spits, and shows 
evidence of excitement, speaks 

“I’m being swindled, eh? Well, by Gad, I’ll put 
some of them under the ground before I leave here.” 

Ned makes a motion with his hand and shakes his 
head, speaks 

“Wait, Colonel. If we can beat these fellows at 
their own game, it will be worth while. All I ask is 
for you to trust me and Gerdon, and do as we say.” 



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envelope 

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Scene 41 


The Colonel arises, measures oil his words with his 
fingers and explodes into 

“Young man, I’m going to trust you. If you beat 
these fellows, you may ask for anything I possess.” 

Mrs. Hilton gasps. Ned laughs, and Nannie goes 
into the house. Mrs. Hilton arises and passes into 
the house. The Colonel and Ned walk about and con¬ 
verse. They pause. Ned speaks 

“It’s a hard trip, Colonel; and will take a week for 
you to make it. But you must file Patent applications 
for these claims before these claim jumpers make 
their final move. I will do the representation work in 
your absence, as a precaution against accidents.” 

Ned and the Colonel hurriedly enter the house. 

Interior. Same as Scene 35. 

Colonel and Ned enter. Ned brings forms from 
his traveling case and he and Colonel sit and fill out 
the blanks. Ned writes a letter, folds the forms in 
the letter, and seals the envelop and addresses it; 
then he hands it to the olonel. 

The Colonel reads the address and gasps. 

Monro and Barker, 

Wall Street, 

New York City, N. Y. 

Colonel speaks 

“Young man, what dbes this mean?” 

Ned arises and addresses the Colonel, saying: 

“Colonel, you said you would trust me. You are in 
a tight place. Ask no questions till you return.” 

The Colonel shakes his head dubiously, and places 
the envelope in his pocket as Diaphragm goes 
down. 

Next Morning 

Exterior. Same as Scene 39. 



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The Colonel, Mrs. Hilton, Nannie, and Ned in. 
All are standing at door of cabin. Ned carefully 

examines the Colonel’s saddle, puts on his war-bag, 
steps inside, and returns with a pistol belt containing 
cartridges and an automatic. He attaches these so 
that they are concealed. The Colonel kisses Mrs. 
Hilton and Nannie, shakes Ned’s hand, and mounts. 
Ned says: 

“Avoid Elk City and go direct to Grangeville. No 
one at Willow must know you are gone.” 

The Colonel rides away. Ned speaks 

“I didn’t want to alarm the Colonel, but I must in¬ 
sist that you ladies keep your pistols on you and re¬ 
main in sight of the house till he returns.” 

Mrs. Hilton expresses alarm, and Nannie places her 
arm about her mother, who speaks 

“D|o you think our lives are in danger, Ned?” 

Nannie enters the house and brings to her mother a 
belt and pistol and puts it on her. Her own she 
wears. Ned speaks 

“There is no law here! I have learned that the 
men up at Willow are a bad lot. If anything should 
happen, don’t argue, or take chances, but shoot to kill. 
It’s your honor or their life.” 

June 28 

Same as Scene 37. 

Gerdon and Ned in. Ned speaks 

“I’m sorry, Colonel, but I could have put in a wheel 
here which would have given you all the water you 
needed for half you spend on the flume.” 

Their attention it attracted by a call from the house. 
Ned hurries up the bank, looks towards the house, 
then motions to the Colonel, who joins him. A horse¬ 
man rides towards them. It is Gerdon. He dis¬ 
mounts. They greet him. Gerdon speaks to Colonel 



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Scene 44 


Scene 45 


‘‘Things are happening fast: the chief from Jack- 
son’s Hole slipped into Willow this morning,—he has 
Poker Nell with him. He’ll come down here to start 
something. I’m going for the Sheriff. They are go¬ 
ing to jump your claims on the second, and on the 
third all the men go out. I’ll be here on the second 
to help you; keep near your house and stoot to kill, 
for they are outlaws.” 

Gerdon mounts his horse and rides up into the 
gulch. The Colonel and Ned hasten to the house. 
Cut to 

Interior. Same as Scene 35. 

All Hiltons, Ned, and Gerdon in. Ned is adjusting 
strong bar across door. Doors and windows are 
strongly fastened. Loopholes are made through the 
walls. All is excitement. A barrel is being filled with 
water. Two shotguns and a rifle lay across a table. 
Everyone is wearing a pistol. 

Morning of Juey 2d 

Exterior. Same as Scene 39. 

Tlie Colonel is seated in doorway, reading. Ned 
is near with shotgun in hand. Two persons on horse¬ 
back are seen approaching the cabin,— one a square, 
dark man and the other a large, bright blonde woman 
very theatrical in appearance,— astride a buckskin 
horse, both are heavily armed. The man raises his hat. 
The Colonel pleasantly responds. He and the man 
converse for a few moments, and the Colonel motions 
for the riders to dismount and enter the cabin. They 
glance at each, other and then dismount. Ned and the 
others conceal themselves. Cut to 

Interior. Same as Scene 35. 

The Colonel, and the two (Brill and Poker Nell) 
enter and the Colonel places chairs. 

Brill speaks 

“My name is Jack Brill, Colonel. I find you are 
having constructed a flume and ditch up there. What 
are you going to do with it?” 


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The Colonel looks questioningly at Brill, stammers, 
and gets confused, speaks 

‘‘Why—why—that's to bring water down here to 
wash my ground.” 

Brill, now feeling at ease, crosses his legs and folds 
his arms, saying: 

“Going to steal my water, eh?” 

The Colonel looks startled, leans forward, and 
stares at Brill. Brill leans impressively toward the 
Colonel speaks 

“Don’t you know I own the water-right up there?” 

The Colonel sadly shakes his head. Brill looks sav¬ 
agely at him, speaks 

“Well, I do: and if you taks one gallon of it, I’ll 
prosecute you. Another thing. You have allowed 
your representation to lapse, and my men are out there 
ready to do my work. I have filed new claims for this 
ground. I want you to get off.” 

Brill suddenly looks past the Colonel, and his hand 
starts to his pistol as does that of the silent blonde 
woman. Enter Ned, who has them covered with his 
shotgun. Mrs. Hilton and Nannie also enter with 
pointed pistols. Ned speaks 

“Don’t do it, Jack. Both of you put your hands 
higher. Colonel, shoot that woman if she lowers her 
hands, or she will shoot you.” 

Stepping behind Brill, Ned snatches his big pistol, 
and feels him for other arms. He also takes Poker 
Nell’s pistol. He removes the chairs and orders Jack 
and Nell to sit on the floor. The woman refuses and 
Ned promptly knocks her down. Brill squats on the 
floor. Ned speaks 

“Let me ask where you get off, Mr. Brill? Keep 
them well covered, Colonel.” 


Cut in 



374 


PHOTOPLAYS 


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Scene 46 


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Scene 47 


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Scene 48 


Brill glares at Ned and savagely demands: 

'‘What do you mean by this treatment ?” 

Ned does not answer, but steps behind Brill, casts 
a rope about his body, and securely binds him. 
He then does the same to Pbker Nell. He also binds 
handerchiefs over their mouths, and rolls them into 
a corner, covering them with horse blankets. He 
warns the others to conceal their weapons. Placing 
his shotgun by the side of the door, he steps outside. 

Exterior. Same as Scene 39. 

Enter Ned. Jakie and one of his men come over the 
ridge and stand looking toward the house. Ned mo¬ 
tions for them to approach. They come to the door. 
Ned speaks 

“Come in, Jakie, and see if you can help settle this 
question.” 

Jakie steps inside, and Ned covers the other man, 

who is on the steps. Cut to 

Interior. Same as Scene 35. 

The Colonel takes Jakie’s hand and jerks him in¬ 
side. Ned enters with Jakie’s companion. Speaks 

“Don’t turn around, Cates, come inside. Keep your 
hands in front of you. Now, raise them high. That’s 
a good boy! The more you fellows we get inside, 
the fewer there will be for the Sheriff to kill outside.” 

As the others cover the men, Ned binds them. 
Neither man was armed. A shouting and shooting 
outside attracts the attention of those inside. Cut to 

Exterior. Same as Scene 39. 

Colonel, his family, Ned, and Gerdon are on the 
porch. Men are seen running in all directions, and 
horsemen after them. All are rounded up, and the 
Sheriff rides up to the cabin door, where the Colonel 
and his family are standing. Ned steps up and speaks 
to the Sheriff, saying: 





PHOTOPLAYS 


375 


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Scene 49 


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Scene 50 


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Insert 

Letter 


“We have the real surprise in here for you, Sheriff; 
better call some of your men.’’ 

The Sheriff blows a whistle and some of his depu¬ 
ties ride to the house. 

Interior. Same as Scene 35. 

Enter the Hiltons, Ned, the Sheriff, Gerdon, and 
deputies. The bound ones are rolled out on the floor 
for inspection. The Sheriff laughs; speaks 

“Well, Jack Hargrave, I’ve got you at last, and if 
ther isn’t my sweet big blond Poker Nell. You shore 
did hit a snag down here.” 

They are carried outside. Gerdon takes the Colonel 
and Ned aside; speaks 

“Sorry to leave you, gentlemen, but my work is 
done here. Thanks for your assistance, Ned. You 
will not be needed as witnessess.” 

He turns back his coat lapel and shows an officer’s 
badge. All shake hands with him, and he goes out to 
join Sheriff. 

Interior. Same as Scene 35. 

Colonel, Ned, Mrs. Hilton, and Nannie in. The 
Colonel puts his hand on Ned’s shoulder. He is hold¬ 
ing a letter in his hand. Mrs. Hilton and Nannie 
stand by, deeply interested. Colonel speaks 

“My boy, we cannot thank you enough. Gerdon 
handed me this letter for you.” 

Colonel hands letter to Ned. Ned quickly tears it 
open, examines contents, hands the Colonel papers, then 
hands him letter to read. Speaks 

“There you are, Colonel. You needn’t worry any 
more about your claims. They are patented. You may 
be interested in the letter.” 

Dear Nephew: 

Yours received. I sent my Secretary to Washington 
to expedite matters. I enclose duly executed patent 



376 


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Leader 


deeds. I shall be interested in knowing the outcome 
of your adventure. 

Am writing this in haste. 

Give my regards to the Colonel and his estimable 
family. 

Affectionately, 

Uncue John 

The Colonel looks earnestly at Ned, then turns to 
Mrs. Hilton, and says: 

“Mother, our judgment was good. Ned, what can 
we do to show our appreciation ?” 

Ned steps to Nannie and takes her hand, speaks 

“Well, Colonel, if you and Mrs. Hilton will permit 
me, I will try to win this little girl’s consent to make 
this happy family permanent.’* 

The Colonel places his arm over his wife’s shoulder, 
speaks: 

“Mother, I think I hear a magpie outside.” 

They pass outside. Ned holds out his arms. Nannie 
leans upon his bosom. 

And That Happy Family Was Made Permanent 

Ned and Nannie embrace as Diaphragm goes down 
AND OUT. 


\*\ 


















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